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Niagara Falls - ca. 1860
Artist: Joachim Ferdinand Richardt (Danish, 1819–1895)
Joachim Ferdinand Richardt, a native of Denmark, already was a formally trained artist when he first came to the United States in 1855. He painted a wide range of American landscapes but was most drawn to the grandeur of Niagara Falls. This scene, depicted from the American side, is perhaps the largest and most impressive of Richardt’s many paintings of the falls. While some contemporaries romanticized their depictions of the majestic site by minimizing the human presence, Richardt accurately portrayed the numbers of tourists. The advent of the railroad increased access to Niagara, so that by 1850 the falls saw 80,000 visitors a year. Scores of tiny figures can be seen in Richardt’s painting both in the foreground and on Goat Island, the tree-covered strip of land marking the boundary between the United States and Canada.
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Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
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artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
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Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
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Allies Day, May 1917, 1917
Childe Hassam
West Building, Main Floor — Gallery 70
This painting commemorates the nation’s entry into World War I in spring 1917. Childe Hassam shows Fifth Avenue in New York City decorated with red, white, and blue flags. It had been declared “the Avenue of the Allies” in honor of the military alliance between the United States, Great Britain, and France.
This is part of a series of flag images in which Hassam used brilliant sunlight and color in the style of the French impressionists. The breezy, celebratory air glosses over the horrors of modern warfare that American soldiers would face fighting in Europe.
We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. We seem to lean out a window to look along the street, so the building to our right only skims the edge of the composition and continues off the top. The three flags closest to us fly from nearly horizontal flagstaffs along the bottom edge of the painting. All the flags are in shades of scarlet red, white, and royal blue. The flag closest to us is red with the red, white, and blue Union Jack in the upper corner. Beyond it is an American flag with 49 stars, and then the French flag with the vertical bands of blue, white, and red. Those three flags are repeated about a dozen times along the building that stretches away from us, along the right edge of the painting. More of those flags are hung from the cream-white and tan buildings across the street, to our left. Some of those buildings reach off the top edge of the canvas and others come close. The shadows along moldings and the windows are painted with pale and lapis blue. Through narrow gaps left between the fluttering flags, vertical strokes of navy blue and violet purple suggest crowds of people in the street below. The sky between the buildings is ice blue. The artist signed and dated the painting in the center left, “Childe Hassam May 17 1917.”
A patriotic whirlwind overtook mid–town Manhattan as America entered the First World War in the spring of 1917. On Fifth Avenue, the British Union Jack, the French Tricolor, and Stars and Stripes were displayed prominently during parades honoring America's allies. The colorful pageantry inspired Childe Hassam, who dedicated this picture "to the coming together of [our] three peoples in the fight for democracy." Hassam's flag paintings were first shown as a group in New York's Durand–Ruel Gallery in November 1918, just four days after the armistice was declared. Thus, the works, originally created to herald America's entry into the war, also served to commemorate its victorious resolution.
Hassam had studied in Paris from 1886–1889 and was strongly influenced by the impressionists. In many respects, Allies Day resembles the vibrant boulevard paintings of Monet and Pissarro. Like these contemporary French artists, Haassam selected a high vantage point overlooking a crowded urban thoroughfare to achieve an illusion of dramatic spatial recession. But, rather than using daubs of shimmering pigment to dissolve form, he applied fluid parallel paint strokes to create an architectonic patterning. Although he shared the impressionists' interest in bright colors, broken brushwork, and modern themes, Hassam's overall approach was less theoretical and his pictorial forms remained far more substantial than those of his European contemporaries.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 283-287, which is available as a free PDF.
Frederick Childe Hassam (he later discontinued the use of his first name) was born on October 17, 1859 in Dorchester, Massachusetts. His ancestors had come from England to America, with the original family name Horsham, in the seventeenth century. In 1876 he was apprenticed to a local wood-engraver and soon thereafter became a free-lance illustrator. In the evenings he attended the life class at the Boston Art Club, then briefly studied anatomy with William Rimmer (1816-1879) at the Lowell Institute, and took private lessons from the German-born painter Ignaz Gaugengigl (1855-1932).
In 1883 Hassam and his friend, the painter Edmund H. Garrett (1853-1929), traveled to Great Britain, Holland, Spain, and Italy, where Hassam produced a large number of watercolors that were exhibited at Williams & Everett Gallery in Boston later that year. Once home, in 1884, Hassam married Kathleen Maude Doane and lived in Boston until the spring of 1886 when the couple left for Europe. In Paris, Hassam studied figure painting with Gustave Boulanger (1824-1890) and Jules Lefebvre (1836-1911) at the Academie Julian, and exhibited his work at the Salons of 1887 and 1888. When they returned to the United States in 1889 the artist and his wife settled in New York. Hassam subsequently assisted in founding the New York Watercolor Club and joined the Pastel Society of New York. He also began to exhibit with the Society of American Artists, with whom he remained until withdrawing in 1897 as a founder of the group that would become known as The Ten.
During the 1890s and the following two decades Hassam spent his summers painting in locations throughout New England, such as Gloucester, Massachusetts; Cos Cob, Connecticut; and Newport, Rhode Island. His favorite settings, however, were Old Lyme, Connecticut, and Appledore, on the Isles of Shoals, off the coast of New Hampshire, where he produced some of his best known images. After 1920 the Hassams' permanent summer home became East Hampton, Long Island. A prolific and industrious artist, Hassam produced numerous scenes of both the city and the countryside. Many of his early street scenes of Boston, Paris, and New York, with their reflections of wet pavement or of gaslight on the snow, evidenced a wonderful talent for capturing the effects of light and atmosphere. While he recorded nearly all aspects of busy city life, he seldom focused on the seamier subjects that often attracted painters of the Ash Can School.
Throughout his career Hassam won numerous awards and prizes and earned the serious attention of the American collectors George A. Hearn, John Gellatly, and Charles Freer. His work was widely exhibited at established museums throughout the country. In the 1913 Armory Show Hassam was represented by six paintings, five pastels, and a drawing. About 1915 he began to turn in his efforts to printmaking, producing etchings and drypoints at first, and lithographs about two years later. By 1933 a catalogue raisonné of his intaglio prints identified 376 different plates. Toward the end of his life Hassam most often exhibited graphic works. The quality of his paintings, in the meantime, became increasingly uneven.
Of the American artists called impressionists, Childe Hassam was among those whose work most closely followed that of their French colleagues. Although Hassam was not a novice, but already a practicing artist when he began to study in Paris, it is apparent that he soon absorbed aspects of the avant-garde styles of that time and place. (Hassam himself chose to minimize his connection to the art of France, indicating that he was influenced, if at all, by the plein-air prototypes of nineteenth century English painters such as Constable, Turner, and Bonington, perhaps in recognition of his own national origins.) By the time Hassam turned wholly to impressionism, the style had been introduced into the United States for several years and the bright colors and broken brushwork of his images found a ready audience.
Despite his bewilderment concerning some of the changes in contemporary art toward the end of his life, Hassam continued to express faith in the future of American art. Shortly before his death, in East Hampton in August 1935, he arranged to bequeath all the paintings remaining in his studio to the American Academy of Arts and Letters. According to his wish these were sold to establish a fund for the purchase of American works which were then presented to museums.
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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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________________________________
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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Vanity Fair Women’s Beauty Back Minimizer Full Figure Underwire Bra 76080 ldstyle.com/product/vanity-fair-womens-beauty-back-minimi...
Visit computertricks.org/category/windows-tricks to read interesting Windows XP tricks for your system.
To minimize the length of road closures, Targa Newfoundland's performance rally runs with the fastest cars at the back. Starting 30 secs behind us, by this point late in the stage Scott Smith and Peter Guagenti have caught up.
In the background, the bright line on the nearby water is the boundary between fresh and salt water (The "foam line" marks where the heavier saltwater is moving under the fresh). The latter is flowing into this "barachois" under the bridge we just crossed. R Dawe photo
Shortening feedback loops and validating learning are the primary Agile approaches to minimizing risk. In that spirit, at a project level I like for teams to maintain a risk map, to track risks that need to be addressed or monitored.
Any risks that are highly probable and have a high severity must have a risk mitigation strategy, which is shown here to the right of the map.
This Fruit Serum is useful for all skin types i.e. Normal, dry, mature or sensitive skin. Packed with Vitamins, fatty acids, Bakuchiol and antioxidants, it is nutrient dense, helping to minimize the signs of aging, sun exposure and pollution. Bakuchiol helps to minimize the appearance of fine lines and wrinkles leaving your skin more youthful looking. read more- www.rozetreebotanicals.com/collections/all-products/produ...!
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The Mill Pond Minimizers are going head to head in the CERTs Family Energy FACE-OFF and they need your help! Click here to join their team >>
Photo credit: Michelle Vigen (Wakefield Photography), Clean Energy Resource Teams
ADS professional dental LED lights can provide excellent lighting performance. Lighting over 5000 lux can minimize shadows. Our LED lights have good functions such as hands-free sensors and 3-axis rotation.
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For zoo animals, I like to minimize the enclosure detail as much as possible. For the larger animals, this preference results in many head shots. This giraffe species is found in northern Africa (Somalia, Ethiopia, and northern Kenya). Males are generally darker than females, and they normally become even darker with age. Giraffes are the world's tallest animals.
IMG_1578; Reticulated Giraffe
The Mill Pond Minimizers are going head to head in the CERTs Family Energy FACE-OFF and they need your help! Click here to join their team >>
Photo credit: Michelle Vigen (Wakefield Photography), Clean Energy Resource Teams
• Physical protection of conductors (ống thép luồn dây điện steel conduit Bảo vệ tốt cáp điện-dây dẫn điện)
• Minimize fire problems due to Aged Electrical Wiring Systems
(ống thép luồn dây điện steel conduit chống cháy tốt do hệ thống cáp điện/ dây điện lão hóa theo thời gian)
• Added security and protection (ống thép luồn dây điện steel conduit tăng tính bảo mật & bảo vệ)
• EMI shielding (ống thép luồn dây điện steel conduit chống nhiễu điện từ)
• Non-combustibility
(ống thép luồn dây điện steel conduit không cháy và không tạo khói độc khi cháy như ống luồn PVC. Ở Việt
nam, đa số vụ cháy nhà cao tầng gây nhiều tử vong là do ngạt khói độc xuất hiện trong lúc cháy)
• Recyclability (Green Building)
(ống thép luồn dây điện steel conduit có khả năng tái chế và thân thiện môi trường xanh)
• Proven equipment grounding conductor (ống thép luồn dây điện steel conduit có thể dùng chôn dưới đất)
• Adaptable to future wiring changes
(ống thép luồn dây điện steel conduit dễ thay đổi hệ thống đi dây dẫn điện trong tương lai)
• High tensile strength (ống thép luồn dây điện steel conduit chịu được va đập cao)
• Competitive life-cycle costs (ống thép luồn dây điện steel conduit chi phí cho vòng đời sử dụng thấp)
• Coefficient of expansion compatible with common building materials
(ống thép luồn dây điện steel conduit hệ số dãn nở thấp phù hợp sử dụng với vật liệu xây dựng thông dụng)
• Chemically compatible with concrete
(ống thép luồn dây điện steel conduit tương tích với các hóa chất trong bê tông)
I. Ống thép luồn dây điện G.I CVL® (G.I conduit – Steel conduit- Galvanized steel conduit)- Ống thép luồn điện EMT CVL®-VIETNAM (CVL® Electrical Metallic Tubing) ANSI C80.3/UL 797
- Ống thép luồn điện IMC CVL®-VIETNAM(CVL® Intermediate Metal Conduit) UL 1242
-Ống thép luồn dây điện loại ren BS 4568 Class 3 CVL®-VIETNAM (CVL® Conduit BS4568 Class 3)
- Ống thép luồn dây điện ren BS 31 Class B CVL®-VIETNAM (CVL® Conduit BS 31 Class B)
- Ống thép luồn dây điện trơn JIS C 8305 CVL® loại E-VIETNAM (CVL® Steel Conduit-Plain Type E)
The U.S. Army Corps of Engineers Los Angeles District dispatched personnel and resources Aug. 14 to assist the White Mountain Apache community with its limited flood risk minimization measures.
Anne Hutton, the District's chief of Emergency Management explained that the project was made possible through a provision of PL 84-99 that allows the Corps to provide technical and direct assistance in advance of a flood event when we can show an imminent threat of unusual flooding.
"A series of four storm-related floods June 28 - 29, July 2 and Aug. 11 - with debris flows from the burned watershed upstream - prompted a release of emergency funding for flood fighting measures," said Hutton.
The Cedar Creek Fire burned approximately 46,000 acres of the Fort Apace Reservation between June 17 and July 2.
"Because of the greater than average fire-related flood risk this storm season, the Corps has identified that risk reduction measures are most needed for the lower streambank areas of Cedar Creek," added Hutton.
Flood fighting measures will include strategic installation of approximately 1.5 miles of temporary protective barriers along the Cedar Creek.
The Corps provides engineering services to respond to national and natural disasters to minimize damages and help in recovery efforts.
Stainless Steel Capillary Tube Description:
Whether you need to exchange device tubing as a section of your troubleshooting or want to minimize the dwell extent of your system as you pass to narrower columns, WENZHOU HUASHANG STEEL CO., LTD. has the first-rate tubing in the lengths. Tubing is precision cut, resulting in clean, square-cut ends besides ovality. This capillary tube also features lean and easy floor finish.
Capillary Tubing from WENZHOU HUASHANG STEEL CO., LTD. owns the following features as good flexibility, corrosion resistance, high-temperature resistance, tensile strength, water resistance, etc. For the capillary tube, the minimum size is up to 0.19mm and minimum thickness is 0.02mm, and our tolerance is very small. All brightly annealed technique makes a clean inner surface. High finish, no oil or grease particles ensure the optimal and uniform flow of liquids and gases from the sensor to the measuring instrument.
The stainless steel capillary tube has good corrosion resistance, high-temperature resistance, anti-wear, anti-pilling and good flexibility and other functions. It can also shield electromagnetic properties and be bent freely to form a wide variety of bending angles. The stainless steel capillary tube can be kept from deforming regardless of the rotation to each angle, bring convenient for our daily life.
www.sstubecn.com/stainless-steel-tubing/stainless-steel-c...
Trancoso is a district in the municipality of Porto Seguro in the state of Bahia, Brazil. The region was the landing point of the Portuguese explorer, Pedro Alvares Cabral onto Brazil, on April 22, 1500. It was founded by Jesuit Priests on 1583, with the name São João Baptista dos Indios.
Shaped as a rectangle, the village retains the original style of its housing architecture. It is famous for its beaches, such as Praia dos Nativos, Praia dos Coqueiros and Praia do Espelho. In recent years the location has been developed by the hotel industry, including the French Club Mediterranée, which has boosted real estate value.
The federal Ministry of the Environment is currently expanding several National Parks and Natural Reserves nearby with the goal of preserving remaining areas of Atlantic Rain Forest. In addition, Trancoso is located at the starting point of a state Environmental Protection Area, the APA Caraíva-Trancoso, whose goal is to curtail touristic and economical development in the region, thereby minimizing negative impacts that may harm this biosphere.
As in most of Brazil, the population is a mixture of native, African and Portuguese or other European descendants. In recent years, "winter birds" such as Canadians, Italians, Portuguese, Dutch, Greeks, Israeli, and other have purchased homes, bed and breakfast, restaurants, and stores here or in other Porto Seguro sections, such as Arraial d'Ajuda and eventually settled down in Trancoso.
The main square is known as 'Quadrado', although it is rectangular. To its east is a sixteenth-century Catholic Church, São João Batista, dedicated to Saint John, the Baptist.
The Mill Pond Minimizers are going head to head in the CERTs Family Energy FACE-OFF and they need your help! Click here to join their team >>
Photo credit: Michelle Vigen (Wakefield Photography), Clean Energy Resource Teams
This
is what I see what I just walk around normally. Try to keep it real
clean and simple. I'm trying to think of ways to have some stuff hide
[maybe when i leave combat/aggro?] when I'm just chilling, fishing or
walking around town. You're gonna see Flexbar, Autobar, Confab,
myClock, Perl's Mods, and MoveAnything! mostly at work here.
This infographic poster describes ways to minimize tick habitat in the school yard. These strategies will probably not reduce tick numbers but can help kids and grounds staff avoid exposure to ticks and the disease organisms they carry.
For a high-quality file of this graphic, click on: hdl.handle.net/1813/57260
The Houghton Hancock Bridge, officially known as the Portage Lake Lift Bridge, is the only bridge of its type in Michigan. When completed, it was the heaviest vertical lift span ever constructed. The unique bridge was designed as a double-deck bridge. The lower deck was designed for railroad traffic, and the upper deck was for highway traffic. However, to minimize the disruption of vehicular traffic on the bridge, the lower railroad deck of the lift span was designed to also accommodate vehicular traffic. This allowed the bridge to be raised slightly so that the railroad deck served the highway deck. While this would leave the railroad level of the bridge closed to trains, vehicular traffic could continue to cross the bridge, while allowing boats of intermediate size to pass under the bridge, where they would not have been able to do so if the left span was fully lowered. For large ships, the span could also be fully raised, which would completely stop traffic on the bridge. Today, trains no longer use the bridge, but the lower deck continues to serve as a crossing for snowmobiles in the winter. During the winter, the lift span is fully lowered, enabling snowmobiles to use the lower lift span deck level, while vehicular traffic uses the upper lift span deck level. At all other times of the year, the bridge is raised to the intermediate position, allowing vehicular traffic to use the lower lift span deck level, while closing off the unused lower snowmobile deck level. Today, the bridge does not appear to raise beyond the intermediate level frequently, since large ships do not use the waterway as often. However it does raise beyond the intermediate position occasionally for sail boats.
The bridge was designed be Hazelet and Erdal. This company was the successor to the noteworthy Scherzer Rolling Lift Bridge Company, which invented the Scherzer Rolling Lift type of bascule bridge. The Houghton Hancock Bridge showed that Hazelet and Erdal exceled at other movable bridge types as well. The Houghton Hancock Bridge, despite its noteworthy size and unusual double deck features, is an otherwise traditionally composed lift bridge for this period in history. Like most vertical lift bridges built in the 20th Century it utilizes some design techniques that were originally patented in 1893 by noted engineer J. A. L. Waddell, in particular the use of massive counter chains hanging from the counterweights, which maintain a consistent counterweight load as the span raises and lowers. The chains address the fact that as a lift span raises and lowers, the weight of the cables that hold the lift span shifts from over the lift span to over the counterweight and vice versa. However, typical of lift bridges from the middle of the 20th Century and later, the bridge also improves upon J. A. L. Waddell's original patented designs. Unlike most Waddell bridges, the Houghton Hancock Bridge does not place the electrical/mechanical equipment on the lift span, which requires a complex set of cables to connect to the towers and lift/lower the bridge. Instead, the equipment is housed in a fixed location within the towers.
As a bridge built for the Michigan State Highway Department (MSHD), the bridge also displays the appearance of a mid 20th Century State Trunk Line Bridge, in particular the use of MSHD's attractive type R4 railings on the sidewalk. These railings give the bridge a distinctive "Michigan" appearance. It should be noted that the R4 railings on this bridge are slightly different from the standard, with metal posts and the upper "hand-rail" portion of the railing being slightly different from the usual standard. Large bronze MSHD standard plaques are also mounted on the bridge.
The lower deck of this bridge has an unusual approach design at the southern end of the bridge. While still over the water, the railroad tracks split to the east and west, curving away from the centerline of the bridge on a series of deck plate girder spans. This split was not new to the lift bridge, since historical photos showed that the previous metal truss swing bridge also had this design.
Today, the Houghton Hancock Bridge is one of Michigan's most well-known historic bridges. The bridge is an icon for the Keweenaw Peninsula and the Houghton-Hancock area. The bridge is well-maintained by MDOT and it features an attractive two-color paint scheme with an off-white color for the towers and sky blue for the remainder of the bridge. Click on the image to the left to view the website for the Keweenaw Brewing Company which makes a beer called Lift Bridge Brown Ale and features an image the bridge on its bottles.
historicbridges.org/bridges/browser/?bridgebrowser=michig...
A U.S. Army Corps of Engineers Buffalo District constructed breakwall minimizes wave impact during the annual beach walk at Presque Isle State Park in Erie, PA, April 22, 2020. Data collected on the walk will help determine the scope of the District's annual sand nourishment project at Presque Isle.
The Presque Isle sand nourishment project's primary objective is to preserve Presque Isle Peninsula which forms Erie Harbor and is a national landmark by stabilizing the shoreline and maintaining beaches that are an important economic resource for the City of Erie.
A long line of vehicles converge on the inbound lane of Hatfield Gate at Joint Base Myer-Henderson Hall Aug. 8. Commuter resource information stations (transportation information booths) will appear at all three portions of the joint base, which include Fort McNair, to provide drivers with an array of commuter choices to potentially decrease the number of single occupancy vehicles entering JBM-HH. (Joint Base Myer-Henderson Hall PAO photo by Arthur Mondale)
The Houghton Hancock Bridge, officially known as the Portage Lake Lift Bridge, is the only bridge of its type in Michigan. When completed, it was the heaviest vertical lift span ever constructed. The unique bridge was designed as a double-deck bridge. The lower deck was designed for railroad traffic, and the upper deck was for highway traffic. However, to minimize the disruption of vehicular traffic on the bridge, the lower railroad deck of the lift span was designed to also accommodate vehicular traffic. This allowed the bridge to be raised slightly so that the railroad deck served the highway deck. While this would leave the railroad level of the bridge closed to trains, vehicular traffic could continue to cross the bridge, while allowing boats of intermediate size to pass under the bridge, where they would not have been able to do so if the left span was fully lowered. For large ships, the span could also be fully raised, which would completely stop traffic on the bridge. Today, trains no longer use the bridge, but the lower deck continues to serve as a crossing for snowmobiles in the winter. During the winter, the lift span is fully lowered, enabling snowmobiles to use the lower lift span deck level, while vehicular traffic uses the upper lift span deck level. At all other times of the year, the bridge is raised to the intermediate position, allowing vehicular traffic to use the lower lift span deck level, while closing off the unused lower snowmobile deck level. Today, the bridge does not appear to raise beyond the intermediate level frequently, since large ships do not use the waterway as often. However it does raise beyond the intermediate position occasionally for sail boats.
The bridge was designed be Hazelet and Erdal. This company was the successor to the noteworthy Scherzer Rolling Lift Bridge Company, which invented the Scherzer Rolling Lift type of bascule bridge. The Houghton Hancock Bridge showed that Hazelet and Erdal exceled at other movable bridge types as well. The Houghton Hancock Bridge, despite its noteworthy size and unusual double deck features, is an otherwise traditionally composed lift bridge for this period in history. Like most vertical lift bridges built in the 20th Century it utilizes some design techniques that were originally patented in 1893 by noted engineer J. A. L. Waddell, in particular the use of massive counter chains hanging from the counterweights, which maintain a consistent counterweight load as the span raises and lowers. The chains address the fact that as a lift span raises and lowers, the weight of the cables that hold the lift span shifts from over the lift span to over the counterweight and vice versa. However, typical of lift bridges from the middle of the 20th Century and later, the bridge also improves upon J. A. L. Waddell's original patented designs. Unlike most Waddell bridges, the Houghton Hancock Bridge does not place the electrical/mechanical equipment on the lift span, which requires a complex set of cables to connect to the towers and lift/lower the bridge. Instead, the equipment is housed in a fixed location within the towers.
As a bridge built for the Michigan State Highway Department (MSHD), the bridge also displays the appearance of a mid 20th Century State Trunk Line Bridge, in particular the use of MSHD's attractive type R4 railings on the sidewalk. These railings give the bridge a distinctive "Michigan" appearance. It should be noted that the R4 railings on this bridge are slightly different from the standard, with metal posts and the upper "hand-rail" portion of the railing being slightly different from the usual standard. Large bronze MSHD standard plaques are also mounted on the bridge.
The lower deck of this bridge has an unusual approach design at the southern end of the bridge. While still over the water, the railroad tracks split to the east and west, curving away from the centerline of the bridge on a series of deck plate girder spans. This split was not new to the lift bridge, since historical photos showed that the previous metal truss swing bridge also had this design.
Today, the Houghton Hancock Bridge is one of Michigan's most well-known historic bridges. The bridge is an icon for the Keweenaw Peninsula and the Houghton-Hancock area. The bridge is well-maintained by MDOT and it features an attractive two-color paint scheme with an off-white color for the towers and sky blue for the remainder of the bridge. Click on the image to the left to view the website for the Keweenaw Brewing Company which makes a beer called Lift Bridge Brown Ale and features an image the bridge on its bottles.
historicbridges.org/bridges/browser/?bridgebrowser=michig...
LONDON (Reuters) - Trebling cigarette duty globally could minimize smoking by a next and stop 200-million premature deaths this century from lung cancer along with other disorders, scientists mentioned on Thursday.It is for certain significantly more than only a mindset through when you quit
Prior to the widespread use of freezer technology the Newfoundland fishery was dependent on salt as a preservative and curing agent. This process was necessitated because it was unfeasible for vessels to take their catch back to Europe on every trip to the fishing grounds on the Grand Banks of Newfoundland.
Certainly to obtain the best price for the fish caught during the fishing season the quality of the fish was of prime importance and care was taken to ensure a profitable catch. When the fish was taken from the saltbulk it was then washed of excess salt and film that had formed during the curing process. The salted cod was then transported to the fish flakes by two men carrying a barrow. The fish was then spread out in a very neat and tidy order by placing them alternately heads and tails. These were first laid face-up, which is flesh side exposed to the sun. As the fish dried it was then flipped over to dry the back side of the salted cod. Before nightfall when the air became damp the fish was gathered up and placed in neat piles called faggots to minimize the exposed area of the fish. As the fish became dry enough for marketability it was then stored in the fish store until most if not all of the seasons harvest was dried in this fashion. The drying of fish may have taken up to week to completely dry. The whole process of drying the complete season catch may have taken a month or two as space and manpower permitted.
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VIDEO: Top 3 Insurance Company Tricks to Minimize Your Personal Injury Case www.insurezero.com/video-top-3-insurance-company-tricks-t...
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Any individuals can minimize their expense through regular checkups at the Coolangatta Medical Centre next to Tweed Heads. At www.coolangattamedicalcentre.com/, you can get highly skilled doctors having expertise in a wide range of allied health services, including psychology, audiology, physiotherapy, and many more areas. To know more, watch this video.
Atrapa la suciedad y la grasa excesiva del interior de los poros gracias a las características de la arcilla blanca, la cual posee una gran capacidad de absorción de la grasa. Esta mascarilla de tipo lavado da tensión a tus poros y devuelve la firmeza a la línea de tu piel.
Wheelchairs minimize the problems or pain of the user such as back pain, sores, digestion, and respiration. Read more- coherentmarketinsightsus.blogspot.com/2022/07/in-electric...
• Physical protection of conductors (ống thép luồn dây điện steel conduit Bảo vệ tốt cáp điện-dây dẫn điện)
• Minimize fire problems due to Aged Electrical Wiring Systems
(ống thép luồn dây điện steel conduit chống cháy tốt do hệ thống cáp điện/ dây điện lão hóa theo thời gian)
• Added security and protection (ống thép luồn dây điện steel conduit tăng tính bảo mật & bảo vệ)
• EMI shielding (ống thép luồn dây điện steel conduit chống nhiễu điện từ)
• Non-combustibility
(ống thép luồn dây điện steel conduit không cháy và không tạo khói độc khi cháy như ống luồn PVC. Ở Việt
nam, đa số vụ cháy nhà cao tầng gây nhiều tử vong là do ngạt khói độc xuất hiện trong lúc cháy)
• Recyclability (Green Building)
(ống thép luồn dây điện steel conduit có khả năng tái chế và thân thiện môi trường xanh)
• Proven equipment grounding conductor (ống thép luồn dây điện steel conduit có thể dùng chôn dưới đất)
• Adaptable to future wiring changes
(ống thép luồn dây điện steel conduit dễ thay đổi hệ thống đi dây dẫn điện trong tương lai)
• High tensile strength (ống thép luồn dây điện steel conduit chịu được va đập cao)
• Competitive life-cycle costs (ống thép luồn dây điện steel conduit chi phí cho vòng đời sử dụng thấp)
• Coefficient of expansion compatible with common building materials
(ống thép luồn dây điện steel conduit hệ số dãn nở thấp phù hợp sử dụng với vật liệu xây dựng thông dụng)
• Chemically compatible with concrete
(ống thép luồn dây điện steel conduit tương tích với các hóa chất trong bê tông)
I. Ống thép luồn dây điện G.I CVL® (G.I conduit – Steel conduit- Galvanized steel conduit)- Ống thép luồn điện EMT CVL®-VIETNAM (CVL® Electrical Metallic Tubing) ANSI C80.3/UL 797
- Ống thép luồn điện IMC CVL®-VIETNAM(CVL® Intermediate Metal Conduit) UL 1242
-Ống thép luồn dây điện loại ren BS 4568 Class 3 CVL®-VIETNAM (CVL® Conduit BS4568 Class 3)
- Ống thép luồn dây điện ren BS 31 Class B CVL®-VIETNAM (CVL® Conduit BS 31 Class B)
- Ống thép luồn dây điện trơn JIS C 8305 CVL® loại E-VIETNAM (CVL® Steel Conduit-Plain Type E)