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Elisa Ruiz Diaz, Ambassador, Permanent Representative of Paraguay to the OAS
Date: June 7, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza seminário destinado a discutir e avaliar a Lei Maria da Penha. Evento integrante da programação dos 16 dias de ativismo pelo fim da violência contra a mulher.
Mesa:
representante do Consórcio Nacional de ONG’s Feministas, Silvia Pimentel;
relatora da Lei Maria da Penha no Senado Federal, senadora Lúcia Vânia (PSB-GO);
procuradora Especial da Mulher no Senado, senadora Vanessa Grazziotin (PCdoB-AM);
presidenta da Comissão Parlamentar Mista de Inquérito da Violência Contra a Mulher da Câmara dos Deputados, deputada Jô Moraes (PCdoB-MG).
Foto: Edilson Rodrigues/Agência Senado
Feira Permanente do Cruzeiro é um dos locais autorizados à retomada do funcionamento, mas com restrições quanto à aglomeração. Público também recebeu máscaras de proteção, entre outras orientações para evitar contaminação pelo coronavírus. Na foto Cláudio Simões, administrador do Cruzeiro. Foto Acácio Pinheiro / Agência Brasília
There are six permanent collections of paintings that trace historical events and native cultures of the Southwest. They are DeGrazia and Padre Kino, DeGrazia Paints Cabeza de Vaca, DeGrazia Paints Papago Indian Legends, Retrospective Collection, DeGrazia Paints the Yaqui Easter and DeGrazia Paints The Bullfight.
From left to right:
Gabriel Aguilera Peralta, Ambassador, Permanent Representative of Guatemala to the OAS
Luis Almagro, OAS Secretary General
Elliston Rahming, Chair of the OAS Permanent Council and Permanent Representative of Bahamas to the OAS
Date: August 11, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
John Crome - British, 1768 - 1821
Moonlight on the Yare, c. 1816/1817
West Building, Main Floor — Gallery 58
Two windmills are backlit by silvery moonlight along the horizon of this loosely painted, horizontal landscape. The horizon comes about a third of the way up the composition. The left half of the painting is nearly filled with a towering tree with muted olive-green leaves and a tan trunk. Some dark branches dip toward the river that runs from the bottom center of the painting into the distance, in front of the windmills. Light shimmers on the gently rippling surface, which is lined to our right with grassy vegetation. A hollowed out, gnarled, broken tree trunk twists against the sky from the riverbank to our right. The windmills are in the near distance, facing off to our left. Their sails create Xs against the screen of pearly white clouds floating against a muted blue sky.
Crome was born in Norwich on 22 December 1768, the son of John Crome. He seems to have been uneducated, and in 1783 he was apprenticed for seven years to Francis Whisler, a house, coach, and sign painter. His first sketch in oil dates from 1790, and about that date he set up a partnership with Robert Ladbrooke, sharing a garret with him; the young men sketched landscapes in and around Norwich and exhibited at the printsellers Smith and Jagger. In 1792 Crome married Phoebe Berney; the couple had five daughters and six sons. On marrying, Crome became a teacher.
One of Crome's earliest mentors was William Beechey, who worked in Norwich from 1782 and 1787; as a young man he visited him frequently in his London studio. But the person who helped him most significantly at the outset of his career was Thomas Harvey of Catton House, whom he met in about 1790. Harvey was then in the process of building up a fine collection, notably Dutch landscape paintings but also including works by Richard Wilson and Gainsborough, all of which influenced Crome's work.
Crome was largely instrumental in founding, in 1803, the Norwich Society of Artists (of which he became president in 1808), an institution at first primarily a forum for biweekly discussions on art. The first exhibition of the society was held in 1805, and Crome contributed between ten and thirty works regularly every year until his death. He first exhibited at the Royal Academy of Arts in 1806, but only showed there at irregular intervals; as he grew older he was an infrequent visitor to London.
Crome's reputation was high throughout Norfolk, not only as a landscape painter but also as an enthusiastic drawing master. Active also as a restorer and dealer, Crome had a shrewd business sense and made a comfortable living. From 1801 until his death he occupied a good-sized house on Gildengate Street in Norwich, and collected pictures, prints, and books. He visited Wales and the Wye Valley with Ladbrooke in 1804, but he made only one journey abroad, to Paris in 1814. He died in his home on 22 April 1821; an exhibition of his works was held that autumn.
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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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I realize Halloween was nearly one week ago, but we still had our jack-o-lanterns out, as do many of our neighbors. Today, as we left our house to go to the co-op, we discovered that someone had decided to smash one of ours overnight. And they had chosen our biggest one, the little man's, and left the others alone. He was understandably upset at the random nature of this cruel act (and noted that our neighbors' pumpkins were all left untouched). Poor kid. Good life lesson though. People suck.
Nei primi giorni di permanenza in Sicilia, stiamo soggiornando a Forte Petrazza, una fortezza umbertina costruita dai piemontesi dopo l'Unità d'Italia per controllare lo Stretto di Messina e presto caduta in disuso. Durante la Seconda Guerra Mondiale vennero qui mandati degli esponenti dell'aristocazia siciliana, che con la scusa di presidiare il Forte evitavano la guerra. Dopo la guerra è diventato un luogo di traffici loschi: droga, prostituzione, latitanza di qualche boss, macellazione abusiva di animali... Dal 2001 il Demanio l'ha dato il gestione al Consorzio Sole, che ha cercato fondi attraverso bandi e prestiti e oggi si è pronti per l'inaugurazione. Qui hanno sede molti uffici del Consorzio, un pub ristorante, una foresteria -che noi stiamo inaugurando, mancano ancora i materassi! - e sale per la formazione. Il tutto gestito da cooperative sociali che mirano anche al reinserimento dei soggetti svantaggiati: la loro idea è creare un parco sociale, in un luogo in cui prima c'era solo desolazione e malaffare. Il forte si colloca nel quartiere Camaro, uno dei più malfamati di Messina ed è significativo che alcuni ragazzi, che prima devastavano il forte, negli ultimi mesi si siano avvicinati con un altro atteggiamento, prendendosi cura del luogo e sistemando le aiuole. Il Consorzio ha subito molti atti vandalici e intimidazioni, ma la tenacia con cui si è lavorato ha premiato!
Ps approfittiamo per fare i nostri migliori auguri alla piccola Adele Arantxa Tabbia che oggi compie tre anni!!
Michel Pinard, Ambassador, Permanent Observer of France to the OAS
Date: May 25, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Elisa Ruiz Díaz, Ambassador, Permanent Representative of Paraguay to the OAS
Date: July 9, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião remota para definição do plano de trabalho e cronograma das atividades da Comissão em 2022.
A CMMIR fiscaliza e monitora movimentos migratórios nas fronteiras do Brasil e os direitos dos refugiados. Com 12 senadores e 12 deputados como membros titulares, escolhidos pelo critério da proporcionalidade partidária, a comissão tem ainda como foco a análise das causas e efeitos de fluxos migratórios internacionais para o Brasil.
Presidente da CMMIR, deputado Túlio Gadêlha (Rede-PE), preside reunião remotamente.
Foto: Roque de Sá/Agência Senado
From left to right:
Luis Almagro, OAS Secretary General
Bocchit Edmond, Ambassador, Permanent Representative of Haiti to the OAS
Juan José Arcuri, Chair of the OAS Permanent Council and Permanent Representative of Argentina to the OAS
Nestor Mendez, OAS Assistant Secretary General
Date: May 25, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
María Isabel Salvador, Ambassador, Permanent Representative of Ecuador to the OAS
Date: July 9, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
History:
Permanent makeup dates back at least to the start of the 20th century, though its nature was often concealed in its early days. The tattooist George Burchett, a major developer of the technique when it become fashionable in the 1930s, described in his memoirs how beauty salons tattooed...
www.lovbeauty.net/blog/history-and-result-of-permanent-ma...
Hubert J. Charles, Ambassador, Permanent Representative of Dominica to the OAS
Date: October 28, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Rodrigo Amaya, Second Secretary, Alternate Representative of Colombia to the OAS
Date: October 17, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Brendan Day and Jayson Wingrove were ordained deacons by Bishop Nicholas Hudson on 24th July 2021 at Westminster Cathedral.
Bayney R. Karran, Ambassador, Permanent Representative of Guyana to the OAS
Date: January 31, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
January 2009, Russ Hickman and Chad Johnson think it might be a good idea to get matching knuckle tattoos to remind us of the calling God has placed on us.
Photo: Russ Hickman
Le cattedre ambulanti sono nate come momento di fuoriuscita dei saperi dalle vie canoniche, momento in cui le conoscenze divenivano pubbliche, ovvero al servizio del bene comune, della collettività.
Durante la moria delle bestie, in Toscana, ma non soltanto, veterinari ed esperti, dettero vita a momenti di formazione collettiva dei contadini, recandosi direttamente nei campi, nel centro del villaggio, al mercato.
Vorremmo che la nostra didattica quotidiana, così come quella alternativa che intendiamo portare avanti, divenisse un patrimonio pubblico: vorremmo fare in modo che la cittadinanza percepisca il valore dei saperi, la loro importanza, vorremmo creare laboratori pubblici ed aperti.
per maggiori info: assembleapermanente.wikispaces.com
From left to right:
Luis Guillermo Solís, President of Costa Rica
Jacinth Henry-Martin, Chair of the OAS Permanent Council and Permanent Representative of Saint Kitts and Nevis to the OAS
Manuel González, Minister of Foreign Affairs of Costa Rica
Albert R. Ramdin, OAS Assistant Secretary General
Date: June 12, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Subcomissão Permanente da Memória, Verdade e Justiça debate o Relatório Figueiredo, que denuncia as violências cometidas contra índios durante o período da ditadura militar e seus reflexos na atual situação indígena. Mesa (E/D): representante do Grupo Tortura Nunca Mais, Marcelo Zelic; presidente eventual da CDH, senador Randolfe Rodrigues (PSOL-AP); jornalista do Diários Associados, Felipe Canedo. Foto: Geraldo Magela/Agência Senado
Reunião da comissão permanente de tecnologia da informação e infraestrutura. Fotos Abdias Pinheiro/Agência CNJ.
PictionID:54842105 - Catalog:14_035615 - Title:GD/Astronautics Facilities Details: Lob Facing East-Site F; Tarp Over Green Concrete Date: 12/15/1959 - Filename:14_035615.tif - ---- Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum