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Welcome to SAMRIOGLU (www.samrioglu.com)
HAZELNUTS, DRIED FRUITS & CHESTNUTS EXPORT TO THE WHOLE WORLD
Company founded by Sadettin SAMRIOGLU in 1940, is one of old manufacturer and trader companies that specializes in the Hazelnuts. SAMRIOGLU Family has been manufacturing and exporting Akcakoca quality Natural Hazelnuts for three generation.
SAMRIOGLU Co is very active in foreign trade, supply customers all around the world also with Organic Hazelnuts, Dried Fruits and Chestnuts. Those are the other products we are very specialized in. Our innovative approach to business, working with serious manufacturer business partners in their field and presenting unbeatable advantages to Global Buyers has enabled SAMRIOGLU to become highly respected supplier name in Hazelnuts and Dried Fruits sector. We are quality-oriented company, apply the rules of HACCP and ISO 9001:2000 for the best quality products in accordance with the International Food Standards. Not only guaranteed top product quality, we offer you also multi-level reliability, friendly business relations, accurate service and timely delivery.
Key Export Products:
Natural Hazelnuts
Organic Hazelnuts
Roasted & Blanched Hazelnuts
Sultanas
Dried Apricots
Dried Figs
Fresh Chestnuts
Frozen Peeled Chestnuts
Sweet Apricot Kernels
Pine Nuts
Chickpeas
Poppy Seeds
Other Nuts (Industrial, Conventional and Organic)
Clinician Tammy Pate told riders in her clinic how important it was to make a firm commitment to stay on board in case of an emergency on the trail. "I grab mane, saddle horn -- whatever it takes to stay on," she says. And then as soon as she is able, "then I'll get to my horse's feet" and begin moving them in such a way as to regain control of the situation.
Deputy Minister Nonceba Mhaluli participated in a Stakeholder Dialogue hosted by Ilitha Labantu. The Dialogue was a discussion on fostering social cohesion and building safer communities. The participants included The UN Resident Coordinator Mr Nelson Muffuh and other civil society organisations. [Photo: GCIS]
I took my machine with me one day, I made the most of a couple of hours while my daughter was at kindy. took over my friends dining table.... I am going to get it all done!!!
Arkansas Department of Education/Division of Elementary and Secondary Education held a press conference in Arkansas Capitol Rotunda Friday morning. High school and college students who plan to become educators to come to the Capitol and pledge their commitment to the profession. The Teacher of the Year, Secretary of Education and Governor provided remarks and all participants sign a certificate of commitment to become an educator.
Arkansas Department of Education/Division of Elementary and Secondary Education held a press conference in Arkansas Capitol Rotunda Friday morning. High school and college students who plan to become educators to come to the Capitol and pledge their commitment to the profession. The Teacher of the Year, Secretary of Education and Governor provided remarks and all participants sign a certificate of commitment to become an educator.
This ‘COMMITMENT’ themed CreativeMornings/SP event featured Jamie Moore Marcario from Thrive Law and was generously hosted by Station House with special support from Roundhouse Creative.
The morning was fueled by Made Coffee, TeBella Tea Co., and Grateful Bakes. SnapThis! Photo Booth captured our GIFs, Suncoast Compost captured our compost, Wax & Hive designed and printed some gorgeous thematic takeaways. Thank you to all our generous partners for making our events extra special.
Photo by Rachel Jolley.
#9din #9vaade
HF Super Dairy & Bakery wishes you a very #HappyNavratri. As we all know that the world is facing pandemic COVID-19, It's time for us to face COVID -19 and come out victorious from the face of it. Let's celebrate Navratri by caring for ourselves & for others by staying at home!
Day 6 commitment!
This CreativeMornings/Cluj event was generously hosted by ClujHub, with the support of Unicredit Bank, ClujLife, Fabrica de Pensule and Magic Mirror Romania. The delicious breakfast was provided by The Little Greenery in collaboration with Food Waste Combat and Gourmeticus.
Tudor Giurgiu was our speaker in exploring the Commitment global theme.
We ❤️ our Global Partners — Adobe, MailChimp, WordPress.com.
Photos are made by Andreea Alexandra Boros.
Moses Striking the Rock - 1624
Joachim Anthonisz Wtewael
Dutch, c. 1566 - 1638
This depiction of Moses Striking the Rock exemplifies Joachim Wtewael's lifelong commitment to mannerism. The mannerists' use of alternating patterns of light and dark, elongated figures, contorted poses, and pastel colors created elegant yet extremely artificial scenes. This multilayered scene from the Book of Exodus describes the miraculous moment in the arid wilderness when God enabled Moses, who was leading the Israelites out of Egypt, to make water gush from the rock at Horeb. Moses, striking the rock with the same rod he had used to part the Red Sea, stands next to his brother, the high priest Aaron, while around them voluptuous women, children, and a host of animals partake of the refreshing water.
The story of Moses and his struggles to lead the Israelites out of bondage had special meaning to the Dutch, who drew parallels between that biblical story and their own quest for independence from Spanish rule. The initial leader and hero of the Dutch Revolt, Prince William "the Silent" of Orange, became symbolically identified with Moses. Like his biblical counterpart, the Prince, who was assassinated in 1584, did not live to see the realization of his "promised land," a Dutch Republic independent from Spanish rule. Wtewael was a fervent supporter of the House of Orange in its quest to lead all seventeen Netherlandish provinces to independence. His decision to paint this scene in 1624 may reflect an effort on his part to revitalize the allegorical connections between Moses and the House of Orange after the conclusion of the Twelve Year Truce in 1621, at a time when William's son and successor, Prince Maurits, and the latter's half-brother, Prince Frederik Hendrik, were renewing their military efforts against Spanish aggression.
Born in about 1566, this artist (whose surname is also recorded in such variant forms as Wttewael, Uytewael, Utenwael, and Wtenwael) was the son of Anthonis Jansz Wtewael, an Utrecht glass painter. Mander I, Karel van records that Joachim worked for his father until the age of eighteen, when he began to study oil painting with the Utrecht artist Joos de Beer (d. 1591).[1] Bloemaert, Abraham was also a pupil of De Beer.
In 1586, after two years with De Beer, Wtewael traveled to Italy in the retinue of Charles de Bourgneuf de Cucé, bishop of Saint Malo. He worked for the bishop for the next four years—two of them in Padua and two in France—before returning to Utrecht. In 1592 Wtewael joined the Utrecht Saddlers’ Guild, because at that time the city had no artists’ guild. When one was established in 1611, Wtewael was a founding member. He was also active in various spheres unrelated to the arts, notably local politics, serving on Utrecht’s city council in 1610, and again from 1632 to 1636. A Calvinist and staunch patriot, he assisted in 1618 in the overthrow of the Remonstrant magistracy of Utrecht and its replacement with a Calvinist administration loyal to the House of Orange. Other activities included running a flax and linen business, to which, Van Mander complained, Wtewael devoted more energy than he did to his art.
Nonetheless, as Van Mander acknowledged, Wtewael found time to produce a considerable number of paintings. Surviving works range in date from the early 1590s to 1628 and vary considerably in size, support, and subject. Although the majority represent biblical and mythological subjects, Wtewael also executed portraits and genre scenes. Stylistically, he was influenced by a number of different schools, from Venetian and Tuscan to Dutch, notably the work of the Haarlem mannerists Goltzius, Hendrick and Cornelisz van Haarlem, Cornelis. Wtewael was one of the few Dutch artists who did not abandon mannerism after the early 1600s, and his oeuvre demonstrates no clear stylistic evolution.
Wtewael died in Utrecht on August 1, 1638, having survived his wife, Christian van Halen, by nine years. The couple had four children, one of whom, Peter (1596–1660), was a painter who worked in his father’s style.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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