View allAll Photos Tagged exploit
La vigilance et la mobilisation sont toujours de mises pour les collectifs citoyens opposés à l'exploitation du gaz et de l'huile de schiste, comme le montrent ces images de la manifestation de Barjac, dimanche 23 octobre 2011.
I'm not very used to SD size( I'll try to sew more in this size).
in 2013 I've had this super cute sd10 girl as guest at my home...and I've made her a lttle mori ensemble.
This picture is copyright protected by Jérôme Chiarandini.
You automatically agree to pay a minimum fee of 500 EUR per image if you use this picture in any way, commercially or non-commercially, without my prior written permission.
Check out www.concertpics.net for more photos
Follow us : Facebook - Twitter - Pinterest - Stumbleupon - Google +
21 mai 2016 : Rugby : au bout de l’effort, les Lilloises deviennent championnes de France !
Les joueuses du LMRCV ont réussi un authentique exploit en finale du championnat de France (18-7). Menées au score en milieu de deuxième période, elles sont allées chercher l’essai salvateur, celui qui a fait basculer la finale de leur côté. Les Nordistes sont championnes de France. Et la fête ne fait que commencer...
En finale du championnat de France pour la troisième fois en quatre ans, les « putain de nanas » du LMRCV veulent renverser Montpellier, champion en titre, ce samedi soir à Massy. Les Villeneuvoises ne partent pas favorites. Mais le LMRCV est devenu plus qu’un club… Cinq raisons d’y croire.
Parce que l’équipe a appris. Comme on se retrouve… C’est la troisième fois que le LMRCV retrouve Montpellier, le géant du rugby féminin, en finale du championnat. Les Villeneuvoises se sont inclinées deux fois : en 2013 d’un rien (15-12) ; l’an dernier nettement (17-3), en restant spectatrices. Pas question de reproduire la même erreur : les Nordistes seront ce soir à l’offensive, dans le volume, l’intensité. Cette saison, Montpellier s’est imposé 34-15 chez lui en phase régulière quand le LMRCV a loupé la victoire à la maison (12-12). « C’est donc à notre tour de gagner », clament les sœurs Ménager.
Parce que l’équipe monte en puissance. Montpellier a beau présenter la grosse ossature du XV de France autour de la capitaine Gaëlle Mignot, la formidable impression des demi-finales est venue de Villeneuve-d’Ascq, où le LMRCV a renversé Blagnac-Saint-Orens (34-10) au match retour. Un match d’accomplissement, avec le bon rythme, un rugby complet, libéré, une équipe qui avance et ne s’arrête jamais. C’est forcément revenu aux oreilles des Montpelliéraines.
Parce que les « putain de nanas ».
Autoproclamées les « putain de nanas » grâce aux mots de leurs coaches qu’elles épatent comme au premier jour, les Villeneuvoises ont offert une âme à leur équipe capable de repousser ses limites. Le problème (pour l’adversaire), c’est qu’on ne les connaît pas ces limites.
Parce qu’elles ont faim. Déjà deux échecs en finale, ça suffit. La bande de copines-compétitrices veut un titre, un trophée, une ligne au palmarès.
Parce que Alice. Et puis, il y a Alice Dallery, tombée cet automne, grièvement blessée. Et depuis formidable de courage et de vie. Ses copines ont dit qu’elles se battaient pour elle, qui ne descend plus sur le terrain mais crie plus fort qu’une tribune entière. Alors ce soir, le LMRCV jouera à seize. Et l’arbitre n’y verra que du feu.
Le Lille Métropole Rugby Club Villeneuvois est un club de rugby à XV de Villeneuve-d'Ascq dont l'équipe sénior féminine participe au Championnat de France de rugby à XV féminin.
Issu du Rugby Club Villeneuve d'Ascq, dont l'équipe féminine a vu le jour le 11 novembre 1993, le club a été rebaptisé en 2000 lors de la création du Lille Métropole Rugby Club. L'équipe féminine évolue en première division depuis 1999 et en élite depuis sa victoire au Challenge Armelle Auclair en 2006.
Finaliste du Top8 pour la saison 2014/2015.
Championnes de France pour la saison 2015/2016.
On Tuesday, October 19.2010, the Massachusetts Attorney General’s Office held a public hearing at Suffolk Univesity Law School's Rappaport Center to address the public safety concerns raised by online sexual exploitation.
Thirteen witnesses testified and several other stakeholders submitted written testimony.
Clearly, they are employing 7th graders as graphic designers. This blatantly violates child labor laws. Or else, it's nepotism.
Seriously, WHY IS THIS HERE?
On Tuesday, October 19.2010, the Massachusetts Attorney General’s Office held a public hearing at Suffolk Univesity Law School's Rappaport Center to address the public safety concerns raised by online sexual exploitation.
Thirteen witnesses testified and several other stakeholders submitted written testimony.
21 mai 2016 : Rugby : au bout de l’effort, les Lilloises deviennent championnes de France !
Les joueuses du LMRCV ont réussi un authentique exploit en finale du championnat de France (18-7). Menées au score en milieu de deuxième période, elles sont allées chercher l’essai salvateur, celui qui a fait basculer la finale de leur côté. Les Nordistes sont championnes de France. Et la fête ne fait que commencer...
En finale du championnat de France pour la troisième fois en quatre ans, les « putain de nanas » du LMRCV veulent renverser Montpellier, champion en titre, ce samedi soir à Massy. Les Villeneuvoises ne partent pas favorites. Mais le LMRCV est devenu plus qu’un club… Cinq raisons d’y croire.
Parce que l’équipe a appris. Comme on se retrouve… C’est la troisième fois que le LMRCV retrouve Montpellier, le géant du rugby féminin, en finale du championnat. Les Villeneuvoises se sont inclinées deux fois : en 2013 d’un rien (15-12) ; l’an dernier nettement (17-3), en restant spectatrices. Pas question de reproduire la même erreur : les Nordistes seront ce soir à l’offensive, dans le volume, l’intensité. Cette saison, Montpellier s’est imposé 34-15 chez lui en phase régulière quand le LMRCV a loupé la victoire à la maison (12-12). « C’est donc à notre tour de gagner », clament les sœurs Ménager.
Parce que l’équipe monte en puissance. Montpellier a beau présenter la grosse ossature du XV de France autour de la capitaine Gaëlle Mignot, la formidable impression des demi-finales est venue de Villeneuve-d’Ascq, où le LMRCV a renversé Blagnac-Saint-Orens (34-10) au match retour. Un match d’accomplissement, avec le bon rythme, un rugby complet, libéré, une équipe qui avance et ne s’arrête jamais. C’est forcément revenu aux oreilles des Montpelliéraines.
Parce que les « putain de nanas ».
Autoproclamées les « putain de nanas » grâce aux mots de leurs coaches qu’elles épatent comme au premier jour, les Villeneuvoises ont offert une âme à leur équipe capable de repousser ses limites. Le problème (pour l’adversaire), c’est qu’on ne les connaît pas ces limites.
Parce qu’elles ont faim. Déjà deux échecs en finale, ça suffit. La bande de copines-compétitrices veut un titre, un trophée, une ligne au palmarès.
Parce que Alice. Et puis, il y a Alice Dallery, tombée cet automne, grièvement blessée. Et depuis formidable de courage et de vie. Ses copines ont dit qu’elles se battaient pour elle, qui ne descend plus sur le terrain mais crie plus fort qu’une tribune entière. Alors ce soir, le LMRCV jouera à seize. Et l’arbitre n’y verra que du feu.
Le Lille Métropole Rugby Club Villeneuvois est un club de rugby à XV de Villeneuve-d'Ascq dont l'équipe sénior féminine participe au Championnat de France de rugby à XV féminin.
Issu du Rugby Club Villeneuve d'Ascq, dont l'équipe féminine a vu le jour le 11 novembre 1993, le club a été rebaptisé en 2000 lors de la création du Lille Métropole Rugby Club. L'équipe féminine évolue en première division depuis 1999 et en élite depuis sa victoire au Challenge Armelle Auclair en 2006.
Finaliste du Top8 pour la saison 2014/2015.
Championnes de France pour la saison 2015/2016.
"Organic" animal products promote the idea that animals could be "happily" exploited.
Los productos animales "orgánicos" promueven la idea de que los animales pueden ser explotados de forma "feliz".
View of Dordrecht from the North - early 1650s
Jan van Goyen
Dutch, 1596 - 1656
Billowing clouds sweep across the sky in Jan van Goyen’s engaging portrayal of the lively waterways near Dordrecht. While sailboats and dinghies filled with men and women come and go, the most active elements of the painting are the shifting patterns of light and shade passing over this watery domain. Van Goyen exploited these atmospheric qualities not only through his quick and fluid brushwork, but also in the way he patterned his composition by silhouetting foreground figures and their boats against sunlit waters beyond, and by juxtaposing the distant city profile against the white clouds. While Van Goyen clearly viewed Dordrecht from the banks of the river Merwede, the essence of the painting is not topography but the character of the air and human life in the confluence of rivers surrounding this important and historic Dutch city.
Over the course of his long career, Van Goyen painted about 70 views of Dordrecht and its environs. This work, executed in the 1650s, is likely one of the last. The thick and vigorous application of paint is typical of his work from that time, as is the large compositional element of the ferryboat with its billowing sail and the strong contrasts of light and dark.
Born on January 13, 1596, Jan Josephsz van Goyen began training as an artist in his native city of Leiden at the early age of ten. The series of teachers with whom he studied included, according to Orlers’ near-contemporary account, Isaac van Swanenburgh (c. 1537–1614). Orlers also says that Van Goyen spent a year in France before going to Haar-lem, where he is known to have been a student of Velde, Esaias van de, I in 1617. His early works closely resemble those of Van de Velde.
By 1618 Van Goyen had returned to Leiden, where that same year he married Annetje Willemsdr van Raelst. His name occurs frequently in Leiden documents between 1625 and 1632. In 1625 he bought a house on the Sint Peterskerkstraat, which he sold in 1629 to the marine painter Jan Porcellis (c. 1584–1632). Probably in the summer of 1632 he moved to The Hague, becoming a citizen two years later. Although he also worked in Haarlem in 1634, at the house of Salomon van Ruysdael’s brother Isaack (1599–1677), he is thereafter recorded only in The Hague. He bought a house there on the Wagenstraat in 1635 and built another the following year on the Dunne Bierkade, where Potter, Paulus is known to have lived from 1649 to 1652. Although a prolific and successful painter, Van Goyen engaged throughout his life in various business ventures, usually unsuccessfully; these in-cluded art dealing, auction sales, and speculation in real estate and tulip bulbs.
During the 1630s, Van Goyen, along with the Haarlem artists Molijn, Pieter and Ruysdael, Salomon van, developed a new approach to the representation of landscape that fo-cused on local subjects and utilized a tonal palette, initiating what has come to be recognized as the golden age of Dutch landscape painting. Van Goyen was a highly respected figure in the artistic commu-nity of The Hague. In 1638 and 1640 he was chosen to be hoofdman of the painters’ guild, and received further official recognition in 1651, when he was commissioned to paint a panoramic view of the city for the burgomaster’s room in the Town Hall. In 1649 two of his daughters were married to artists, Margaretha to Steen, Jan and Maria to the still-life painter Jacques de Claeuw (c. 1620–1670 or after). Despite his artistic success, Van Goyen died insolvent in The Hague on April 27, 1656.
________________________________
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...
.
ALEXANDRIA, VA: National Center for Missing & Exploited Children (NCMEC) Apr. 7-8, 2022
NCMEC Board of Directors Meeting & Events. Claire Edkins/NCMEC
L'unité de conduite et discipline de la MINUSCA a organisé, ce mercredi 16 mai 2018 à la base logistique de la Mission, une formation à l'attention des commandants des contingents sur la prévention des actes d'exploitation et abus sexuels.
Photo: UN/MINUSCA - Hervé Serefio
View of Dordrecht from the North - early 1650s
Jan van Goyen
Dutch, 1596 - 1656
Billowing clouds sweep across the sky in Jan van Goyen’s engaging portrayal of the lively waterways near Dordrecht. While sailboats and dinghies filled with men and women come and go, the most active elements of the painting are the shifting patterns of light and shade passing over this watery domain. Van Goyen exploited these atmospheric qualities not only through his quick and fluid brushwork, but also in the way he patterned his composition by silhouetting foreground figures and their boats against sunlit waters beyond, and by juxtaposing the distant city profile against the white clouds. While Van Goyen clearly viewed Dordrecht from the banks of the river Merwede, the essence of the painting is not topography but the character of the air and human life in the confluence of rivers surrounding this important and historic Dutch city.
Over the course of his long career, Van Goyen painted about 70 views of Dordrecht and its environs. This work, executed in the 1650s, is likely one of the last. The thick and vigorous application of paint is typical of his work from that time, as is the large compositional element of the ferryboat with its billowing sail and the strong contrasts of light and dark.
Born on January 13, 1596, Jan Josephsz van Goyen began training as an artist in his native city of Leiden at the early age of ten. The series of teachers with whom he studied included, according to Orlers’ near-contemporary account, Isaac van Swanenburgh (c. 1537–1614). Orlers also says that Van Goyen spent a year in France before going to Haar-lem, where he is known to have been a student of Velde, Esaias van de, I in 1617. His early works closely resemble those of Van de Velde.
By 1618 Van Goyen had returned to Leiden, where that same year he married Annetje Willemsdr van Raelst. His name occurs frequently in Leiden documents between 1625 and 1632. In 1625 he bought a house on the Sint Peterskerkstraat, which he sold in 1629 to the marine painter Jan Porcellis (c. 1584–1632). Probably in the summer of 1632 he moved to The Hague, becoming a citizen two years later. Although he also worked in Haarlem in 1634, at the house of Salomon van Ruysdael’s brother Isaack (1599–1677), he is thereafter recorded only in The Hague. He bought a house there on the Wagenstraat in 1635 and built another the following year on the Dunne Bierkade, where Potter, Paulus is known to have lived from 1649 to 1652. Although a prolific and successful painter, Van Goyen engaged throughout his life in various business ventures, usually unsuccessfully; these in-cluded art dealing, auction sales, and speculation in real estate and tulip bulbs.
During the 1630s, Van Goyen, along with the Haarlem artists Molijn, Pieter and Ruysdael, Salomon van, developed a new approach to the representation of landscape that fo-cused on local subjects and utilized a tonal palette, initiating what has come to be recognized as the golden age of Dutch landscape painting. Van Goyen was a highly respected figure in the artistic commu-nity of The Hague. In 1638 and 1640 he was chosen to be hoofdman of the painters’ guild, and received further official recognition in 1651, when he was commissioned to paint a panoramic view of the city for the burgomaster’s room in the Town Hall. In 1649 two of his daughters were married to artists, Margaretha to Steen, Jan and Maria to the still-life painter Jacques de Claeuw (c. 1620–1670 or after). Despite his artistic success, Van Goyen died insolvent in The Hague on April 27, 1656.
________________________________
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...
.
Junk & Revilo hit the rooftops - note the old "dase" tag on the right... mid-eighties burners up there!!
Exploitation forestière à Livet (Isère)
Miranda Sensorex, objectif Auto Miranda 3.5/135 mm, 1/60, film Kodak Ektachrome X, 23 juin 1977.
Show The Exploited - 18.11.2009 - Manara - Porto Alegre RS - Câmera Sony A300 (Photos Para Revista Rock Brigade)
La vigilance et la mobilisation sont toujours de mises pour les collectifs citoyens opposés à l'exploitation du gaz et de l'huile de schiste, comme le montrent ces images de la manifestation de Barjac, dimanche 23 octobre 2011.
Bison exploited on a nearby farm. It's hard to know they live so close by, one day to be killed for human consumption....
Go Vegan! All sentient beings have the right to not be treated as property and exploited for human use.
PROJECTS: www.redimei.com/voiceconstructor.html
PHOTOS: www.flickr.com/photos/redimei/sets/
VIDEOS: www.youtube.com/redimei1
ophiuroidea submitted to medievalpoc: I saw this print flash by in a documentary called “Bound by Flesh” about conjoined twins Daisy and Violet Hilton, who were exploited as children in “freakshows” and the like in the Edwardian period and beyond. This print is not of the twins themselves but of another unnamed set of twins (not sure of the artist or anything else). I know the Edwardian period is too late for your blog but I thought I would share it anyway since I found it interesting, especially since I had never seen one of conjoined POC before. This is outside my wheelhouse, but I’m really curious if anyone knows anything about the artist or the subjects depicted. Black women being displayed in Europe and the U.S. as “freaks” has a long and sickening history, and I hope the names of these two hasn’t been lost to time and oppression.