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The Y chromosome is one of two human sex chromosomes, the other being the X chromosome. When researchers completed the first human genome sequence 20 years ago, gaps were left in the sequences of every chromosome, and in the race to sequence the human genome, the Y chromosome got left in the dust.
The Telomere-to-Telomere (T2T) Consortium, a team of researchers funded by the National Human Genome Research Institute (NHGRI), part of the National Institutes of Health, has generated the first truly complete sequence of a human Y chromosome, the final human chromosome to be fully sequenced. The new sequence, which fills in gaps across more than 50% of the Y chromosome’s length, uncovers important genetic features with implications for fertility, such as factors in sperm production.
Learn More: www.genome.gov/Y-Chromosome
Credit: Ernesto del Aguila III, NHGRI
Students celebrating the completion of their Bridge experience. Our convocation took place Tuesday, November 10, 2015, where we were joined by family, friends, and supporters of our 2014 Residential Bridge students.
Photos by LorrieJane Guinto & Margaret Nguyen
Completion of 8 new build apartments at Marion Road. 4 x 2 bed first floor apartments, and 4 x 2 bed ground floor adapted apartments.
Crews on the SR 167 Completion Project in Fife, WA work on mowing down invasive reed canary grass east of I-5. This area is part of Hylebos Creek and the Surprise Lake tributary.
This particular area was a true wetland decades ago before it was converted into agricultural and industrial use.
The SR 167 project includes restoring more than 150 acres of wetlands, streams and habitat on both sides of I-5 at the Fife curve.
Mowing and removing invasive vegetation is just one of the many steps we'll take in the long process to return this area to the wild, so it can once again be a welcoming habitat for fish, birds, and other wildlife.
The SR 167 Completion project is part of our Puget Sound Gateway Program which completes critical links in our highway and freight network. It will build an important new connection to the Port of Tacoma, improve the movement of freight and reduce congestion on local roads and highways.
On Sept. 25, 2024, WSDOT’s Puget Sound Gateway Program celebrated a milestone for the SR 509 Completion Project in SeaTac. Elected leaders and representatives from the state, local cities, the Port of Seattle, Sound Transit, freight gathered on the SR 509 expressway to mark the beginning of the second stage of construction.
In this photo, retiring Senator Karen Keiser smiles as other legislators pay tribute to her support of the project. To her right is Rep. Debra Entenman and Rep. Chris Stearns.
The second stage builds 2 miles of the expressway from 24th Avenue South in SeaTac to South 188th Street near the southwest corner of Sea-Tac Airport. The celebration was held at the point where the first stage (from I-5 to 24th Avenue South) will connect with the upcoming stage.
In these photos, the first stage of the new expressway is clearly shown, with the paved roadway, median barriers and bridges forming a backdrop for the speakers and the festivities. After speeches concluded, guests were invited to choose a preprinted, beribboned card that listed a benefit of the project. They then lined up and each held a ribbon of their own card and the person standing next to them to create a ribbon of benefits.
The Puget Sound Gateway Program combines the SR 509 Completion Project in King County and the SR 167 Completion Project in Pierce County to complete critical missing links in Washington state's highway and freight network. These projects build important new connections to the state's ports, improve the movement of freight and reduce congestion on local roads and highways.
karrox technologies ltd. center celebrates its completion of a complete decade with Pune Deccan associations.
This has been another feather in our cap and has proven our trust of creating successful candidates since Ten years.
Austin Community College District hosts the second annual President's Reception event for ACC's Early College High School graduates on Tuesday, May 14, 2019 at the AISD Performing Arts Center
Arrival of Guest-of-Honour, Mr Lawrence Wong, Adviser to Boon Lay Grassroots Organisations and Acting Minister for Culture, Community and Youth.
Ink on paper -
Completion 2009 -
Katrina Ferrier -
2011 IB Certificate Graduate –
Martha Profitt, IB / AP Visual Arts Instructor -
Hillsboro High World School - Nashville
Construction is nearing completion at Sac City's new Mohr Hall replacement building.
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Sacramento City College is the oldest higher learning institution in the Los Rios Community College District and the Sacramento region. Built in the 1960s, the former Mohr Hall was a single story building on a prominent corner that differed from the rest of the campus architecture and occupying the space of two potential buildings. It housed the Physical Science and Nursing programs and had several deficiencies that could not be readily corrected. Our challenge was to create an interior environment facilitating modern lab, teaching and student gathering spaces with an exterior aesthetic responsive to the architectural vocabulary already established on campus – two stories, brick, concrete, and terracotta clay tile. The new Mohr Hall occupies the western portion of the existing site, leaving space for a future two-story building to the east.
The new building incorporates passive solar features such as deep overhangs and vertical fins to help shield from low sun angles. A series of outdoor gathering spaces and landscape features better connect with the existing circulation of campus. The centrally located building entrance incorporates a feature donor wall and benches using wood reclaimed from trees on site. Just outside the geology lab is an outdoor learning space that incorporates a rock garden from the colleges’ vast specimen collection.
Student gathering spaces are located on both floors, designed to allow students to casually interact with each other and faculty. Lab spaces are located on the east side allowing for access to the courtyard and outdoor spaces, including those utilized by allied health students for training.
The Margaret Ware Dining Room in Pearsons Hall is nearing completion! Renovation was well underway as of early June, and the project will be completed in about 13 weeks. The facility provide space for about 600 students to eat daily.
The 2022 United Association Instructor Training Program culminated in a completion ceremony, where more than 200 UA members crossed the stage to receive an ITP certificate, a WCC associate degree or both.
(Photos by JD Scott)
Paul Cezanne - French, 1839 - 1906
The Gardener Vallier, 1906
West Building, Main Floor — Gallery 84
A bearded man with a coppery-peach completion, wearing a dark, navy-blue brimmed cap, vest, jacket, and pants sits on a wooden bench or chair against a green background in this vertical portrait. The scene is loosely painted with thick, visible brushstrokes in kelly and shamrock green, deep, midnight blue, tawny brown, and charcoal gray to create a mottled effect. The man’s body is angled to our right and he looks in that direction. His legs are crossed and are cropped below the knees by the bottom right corner of the canvas. His fingers are interlaced in his lap with one thumb hooked between buttons on his vest. He has a long nose and his lips are closed. Touches of vibrant robin’s egg blue, sage green, pumpkin orange, and brick red enliven the dark clothing and shadows on the man’s features.
Paul Cezanne was born in Aix-en-Provence on January 19, 1839, the first child of a prosperous hatter, Louis-Auguste Cezanne, who later became a banker. Paul, as the only son, had his career path chosen for him by his father, who decided that the young man should become a lawyer and prepare to manage the nascent family fortune. By 1857, however, Cezanne had begun to take classes at the Free Drawing School attached to the Musée d'Aix (now the Musée Granet). Yielding to paternal pressure, he registered at the Aix law school the following year, but he had already settled on a life as an artist.
In 1861 Cezanne abandoned his legal studies and made his first visit to Paris, encouraged by his boyhood friend, the novelist Émile Zola. Paris was the center of the art world, an essential destination for any up-and-coming artist, and Cezanne made repeated trips to the capital over the next dozen years, absorbing much that proved foundational to his subsequent artistic accomplishments. He frequented the Salon, studied the old masters and copied Delacroix at the Louvre, and forged friendships with many important artists, including Edouard Manet, James McNeill Whistler, Edgar Degas, Auguste Renoir, and Henri Fantin-Latour. But it was Camille Pissarro who became a pivotal, lifelong influence on Cezanne after the two met in the early 1860s at the Académie Suisse in Paris.
By the mid-1860s Cezanne had established himself as a painter, though with minimal official success: he was denied entry into the École des Beaux-Arts and systematically excluded from the Salon exhibitions. This rejection resulted from his comparatively radical painting style, characterized by muscular swaths of paste-like paint applied with the palette knife, a technique that he had inherited from the realist master Gustave Courbet. His rough-hewn manner matched his adoption of a provincial persona, a calculated strategy-also patterned after Courbet-to gain notoriety in the cosmopolitan capital. This first phase of Cezanne's career, heavy with dour portraits and emotionally charged scenes of rape and murder, paralleled anxiety in his personal life: discomfited in the capital, Cezanne shuttled back and forth between Aix and Paris seeking a more definitive artistic voice. In Aix the Jas de Bouffan, a large working farm on the outskirts of the city that had been purchased by Louis-Auguste in 1859 to serve as the family estate, figured as a central locale for the artist's searching experimentation of these early years and beyond.
In 1869 Cezanne met Émilie Hortense Ficquet, the woman who would eventually become his wife (1886) and bear his only child, also named Paul, in 1872. It was at the instigation of Pissarro that Cezanne arrived in Auvers in 1872, along with Hortense and their infant son, and began what is often dubbed his "impressionist" phase. Under the influence of the Barbizon painters Camille Corot, Charles-François Daubigny, and Théodore Rousseau, Cezanne had depicted landscape in his previous work. But it was through his close working relationship with Pissarro that Cezanne developed both his enduring interest in plein-air (outdoor) painting and a manner similar to that of the impressionists. Cezanne now placed more emphasis on the close observation of nature and on the rendering of light and atmospheric effects, producing works with a lighter palette and freer brushwork that he exhibited in Paris at the impressionist exhibitions of 1874 and 1877. It was also during the 1870s, and up to 1885, that Cezanne began to paint in L'Estaque, a site that has rightly been seen as engendering Cezanne's maturation as an artist. It was there, during the mid-1880s, that he painted his great views of the Gulf of Marseille, though he had more prosaic reasons for making this seaside village his base when returning to Provence: L'Estaque had enabled him to avoid the draft (1870-1871), and continued to function as a refuge from paternal interference.
From the mid-1880s until Cezanne's first solo exhibition, organized in Paris in 1895 by his dealer Ambroise Vollard, the artist's personal life and artistic production underwent considerable change. In April 1886 Zola published The Masterpiece (L'Oeuvre), a novel whose unflattering portrayal of a failed artist, based on Cezanne himself, precipitated the end of their longstanding friendship. Later that same month Cezanne married Hortense Ficquet, and in October his father died. Around 1890 Cezanne began to suffer from diabetes. Meanwhile, he had by this time entered into his full artistic maturity, adopting a characteristic style in which paint was applied in regular, hatched strokes-his so-called "constructive stroke." For Cezanne this way of working grew out of his intent to produce paintings that captured solid form rather than the fugitive effects rendered by the impressionists. He depicted the gamut of subjects in all media: landscapes around Pontoise and especially Provence, notably his first images of the Montagne Sainte-Victoire, as well as still-lifes, portraits, and self-portraits. Among his most iconic works are his paintings of cardplayers, executed in the early 1890s, and of the Bibémus quarry and Château Noir, dated to the mid-1890s. Cezanne had also begun to garner critical attention during this period from the likes of Paul Alexis (1886-1887), Joris-Karl Huysmans (1888), Émile Bernard (1891), George Lecomte (1892), and others.
Among the significant events marking Cezanne's last decade was the death of his mother in 1897, which led to the sale of the Jas de Bouffan in 1899. While robbed of one site, Cezanne created another in 1902 when he had a studio built in the outlying hills of Les Lauves. It is from near his studio that Cezanne began his systematic portrayals of what is recognized today as his signature motif: Montagne Sainte-Victoire, the dominant landform due east of Aix. It is these paintings, arguably more than any other, that display what was perhaps Cezanne's signal aesthetic tenet: the structuring power of color. His last great achievement was his serial paintings of bathers, a theme he treated throughout his life, culminating in three oversize canvases executed at this time. The latter recast both longstanding notions regarding the nude and the relation of figure to landscape.
Cezanne died at 7:00 a.m. on October 23, 1906, at his home, 23 rue Boulegon in Aix.
(Biography was written by Benedict Leca, Mellon Curatorial Fellow, department of European and French paintings, National Gallery of Art, Washington.)
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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"Blossoming into completion" is a sentence I remember from one of the numerous talks by Osho (Shree Rajneesh), who opened the world's many spiritual paths for me - and some of my soul too..
He once talked about a valley in the Himalaya's that had only been discovered just recently. Quite difficult to reach, it had an overwhelmingly large amount of rare and almost extinct flowers. Endless fields of the most precious plants and flowers. No one ever watched them, or appreciated their beauty, let alone pick them. I still remember Osho's soft voice, always sounding slighly drunk :
"For whom are they blossoming? For no one! Useless beauty! They are just blossoming into completion"
Some days, that quote is a much needed antidote for narcissism and my presumed need for attention.