View allAll Photos Tagged influence
CELEBRATING THE STRENGTH, INFLUENCE, AND ACHIEVEMENTS OF LATINAS IN THE BRONX
Hispanic Lifestyle is thrilled to announce our Connecting Latinas of Influence Series will take place on September 24, 2024 in the Bronx, New York! Sponsored by Wells Fargo Home Mortgage this special event is designed to bring together Latina leaders, professionals, entrepreneurs, and community members for an evening of empowerment, inspiration, and networking.
Attendees can expect engaging panel discussions on building generational wealth, insights from community leaders designed to foster connections and highlight the diverse talents within the Latina community. Whether you’re a seasoned professional, a rising star, or simply someone who wants to support Latina excellence, this event is for you.
Good morning Hispanic Lifestyle friends. Today we updated our list of Latinas of Influence we will recognize during our Connecting Latinas of Influence | Bronx, NY visit. Join us on September 24, 2024 at Maestro’s Bronx, NY. Register online @ bit.ly/3PPKFlu
Thank you Wells Fargo Home Mortgage for supporting our efforts to recognize excellence in our community.
These distinguished Latinas of Influence, with diverse personal and professional backgrounds, embody excellence as business and community leaders within their respective fields.
Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.Phi Gamma Delta Fraternity House
1129 University Ave., SE.
Minneapolis, MN
Early modernist chapter house designed by Carl B. Stravs in 1912, and an influence on the architecture and planning of fraternity housing at the University of Minnesota.
Read the full article and download the mind map on the IQ Matrix blog: blog.iqmatrix.com/social-influence
Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
"The Influence of New US and UN Leadership on International Relations, Economic Development, Innovation, New Markets, & Global Human Rights"
(New York City & Washington DC; January 10th - 14th, 2017)
Rabenauer Grund, Dresden - 1836
Johan Christian Dahl (1788 - 1857)
Born in Bergen Norway, and trained at the Copenhagen Academy, Dahl nonetheless spent most of his working career in Germany. He is thus claimed by all three schools for their own, although it was his influence on the latter that was more important, as from 1824 until his death he held the senior professorship of art at the Dresden Academy. His memories of his homeland, however, provided him with themes that he reused throughout his career, but it was his attention to nature and use of the plein-air sketch that earned him the Dresden appointment in preference to Friedrich.
Dahl entered the Copenhagen Academy in 1811, as a pupil of C. A Lorentzen, an undistinguished painter who had looked at Vernet and concentrated on exaggerated mountainous views. It was Jens Juel, however, and Dahls exposure to the sketches and paintings made by Eckersberg on his foreign travels, that persuaded him to make use of plein-air sketches, essential to his artistic formation. The young painter also took advantage of his access to the Danish royal collection, strong in the work of Dutch 17th century artists, which led him to appreciate the Nordic landscapes of Jacob v. Ruisdael and Albert v. Everdingen, both of whom influenced his approach to the natural world. In 1818, after leaving the Academy, he made his first trip to Dresden, where he became acquainted with the work of Caspar David Friedrich, whose use of religious symbols in landscape settings also affected Dahl, even though the younger artist was to temper this with stronger naturalism.
Like so many painters, he felt bound to undertake an Italian trip, spending a few months in Rome where he joined the German and Danish expatriates in exploring the Roman Campagna and the Amalfi coast. Upon his return he was appointed to the Dresden Academy where he taught a whole generation of German painters, and continued his relationship with the many Danish artists who passed through on their journey to and from Italy. Dahl, however, like Friedrich, was also as much interested in the spirit of nature as natural phenomena, and in his admiration for honest naïvety (in the words of Franz Pforr) there was no virtuoso brush-work, no bold handling was to be seen; everything presented itself simply, like something frown rather than painted. Nonetheless in his conception of landscape he was a pure naturalist, seizing on the details of rocks and trees and plants and meadows with quite extraordinary mastery; working with amazing facility, but leaving much to chance, he often seemed to surrender himself to the objective (Carus, writing of Dahl). Dahl may be compared with Constable in that both saw landscape as a means of recording moods and impressions, but they lack the bravura of the English master and Dahl was uninterested in experimenting with technique in order to achieve a particular effect of light. In terms of technique his approach was conventional, but nonetheless it was fresh and direct. Dahl was himself a substantial collector who never lost touch with his homeland; indeed, after his death he bequeathed his collection to the Norwegian capital, Oslo, where it provided the basis for the Norwegian National Gallery.
www.nasjonalmuseet.no/en/stories/explore-the-collection/V...
_________________________________________________
Bergensian businessman Rasmus Meyer assembled an enormous art collection during his lifetime. Quite cleverly, he bought a number of principal works from Norwegian artists by the end of the 19th century and the beginning of the 20th century.
His dream was a public building where the works of art could be exhibited for a larger audience.
Across two floors, you wander through the golden age of Norwegian art history, from 1880 to 1905 and onwards to 1920. We show works by artists like J.C. Dahl, Hans Gude, Harriet Backer, Christian Krohg, Kitty Kielland, Nikolai Astrup and Erik Werenskiold, as well as Norwegian Matisse students Henrik Sørensen and Jean Heiberg.
We also show historic Bergen interiors in the elegant Blumentahl room with its wall and ceiling paintings from around 1760 covering the entire room.
.....
Rasmus Meyer ended his own life in 1916, and his heirs donated his collection to Bergen municipality. They stipulated one condition to the municipality: that a public museum should be constructed for the collection.
The building was designed by architect Ole Landmark and was completed in 1924.
Today, Kode and Bergen are home to the world’s third largest Edvard Munch collection. It consists of more than 100 works on paper and 50 paintings, of which most are from Rasmus Meyer’s collections. Rasmus Meyer was among the first distinguished collectors of Munch’s art.
In the collection you find major works from all periods of Munch’s artistic career. Among the highlights are “Jealousy”, “Melancholy”, “Woman in Three Stages” and “Evening on Karl Johan Street”.
At Permanenten we show temporary exhibitions across three floors of both contemporary art and works from our own collection.
You might know Permanenten as Vestlandske Kunstindustrimuseum. Traditionally, this is the building housing the collection of fine craft and design, Norwegian silver and the Chinese art collection.
At the top floor you find Festsalen, suitable for hosting various larger events and festive occasions, in addition to the library and meeting rooms.
The museum is currently being renovated and has a limited number of exhibitions on display in 2022-23. Large parts of the collection previously on display in Permanenten is not available at this time.
At Lysverket we show temporary exhibitions as well as permanent works from our collection.
The building is currently scheduled for refurbishment and will until then have selected temporary exhibitions at display.
Right now, you can experience the spectacular new installation by Børre Sæthre in Tårnsalen.
Lysverket is the only Kode building not originally built for museum purposes. The building from 1938 was previously the administration building for the municipal power company Bergen Lysverker, where we got the name from.
www.salescoach.us/ - Understanding how technology influences the sales process is important to helping you improve your sales process and sales numbers. Technology has dramatically changed the way we do business. In a recent Harvard Study Review, 70% of those that responded first to a sales inquiry enjoyed a competitive advantage.
If you are looking for bespoke service and most professional Influencer Marketing Agencies in London, then you should contact Dazl Media. We believe in creating a robust emotional connection between brands and consumers.http://dazlmedia.com/
Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
Bhakti Kubavat is a well-known Gujarati actress, model, and anchor has amassed a massive fan base on social media. To read continue visit: Bhakti Kubavat Biography
Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
As part of the Ebola Emergency Response, a sensitization campaign helped raise awareness of Ebola in Kalunguta health zone within Kivetya health area in North Kivu the Democratic Republic of Congo. Communication and community engagement are essential to stop and prevent the spread of Ebola. UNICEF is supporting the establishment of community committees, and together with partners are engaging with trusted individuals and networks, including religious leaders, youth and women’s groups, business leaders, as well as Ebola survivors themselves. In the Democratic Republic of Congo, UNICEF is also working to bring together social and political influencers, community leaders and members of armed groups to allow Ebola response teams to work within communities in a safer and more trusting environment.
Today, influencer Martin Bwanakawa , President of Nandais community ( wearing a brown suit) , UNICEF Rapid Intervention Team Gerlanse Musubao (with blue shirt) were invited to address the local community in Kalunguta health zone and engage talks on reducing the resistance towards the response. Rapid intervention team, UNICEF and WHO staff, traditional leaders, Imam Awazi Kitenge, Health zone Kalunguta and Kivetya staff were also attending the meeting inside the local church. UNICEF Team Leader Chriso addressing community.
TribeFluence is the new app that brings branders or those with a message together with social media influencers at an affordable cost. For more information visit: www.tribefluenceapp.com/
THE DRUNKARDS
1883
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.