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04 December 2019, Rome Italy - Mohammad Hossein Emadi, Ambassador, Permanent Representative to FAO, Islamic Republic of Iran, and Chair COAG. FAO Council 163rd Session Side Event: Global Action for Fall Armyworm Control, FAO headquarters (Sheikh Zayed Centre).
Photo credit must be given: ©FAO/Giuseppe Carotenuto. Editorial use only. Copyright ©FAO.
Luis Chuquihuara, Ambassador, Permanent Representative of Peru to the OAS
Date: September 21, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Diego Molano Vega, Minister of Information Technology of Colombia
Date: July 23, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Second test with permanent markers for ceramic. First one, the one with the octopus, was not baked enough and the drawing could be scratched with a fingernail. This time I baked it more, and a higher temp, and looks like is set forever there! At least can't be scratched with my fingernail, I might have to try harder with other thing, but is enough to give me confidence on its permanence.
The mini bowl is small: 11cm/4.5 inches wide.
Alexis Ludwig, Deputy Permanent Representative of United States of America to the OAS
Date: August 22, 2018
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
Reunión semipresencial de la Permanente de la Ejecutiva Federal del Partido Socialista encabezada por el secretario general del PSOE y presidente del Gobierno, Pedro Sánchez.
Foto: Eva Ercolanese
John S. Dodd was named the first permanent pastor of the original Bethsaida Baptist Church in 1843. Here pictured, is a few of his family members. Thomas Edward Dodd and Margaret Bethel Dodd were the two that were buried at this particular spot. The front side of the head stone (as pictured) reads: “Jesus can make a dying bed feel soft as downy pillows are, While on his breast I lean my head and breathe my life out sweetly there”. Obviously this is the family of the original pastor. This just shows one of the many families who have burial plots located at the cemetery. All the headstones that you see are actually people who had families. This is where the sadness comes in. There are even a few burial plots from children who didn’t make it through birth. Regardless of why, where, and when all these men and woman were buried, they all are together in one place. After you have looked around the cemetery, you can really get a feeling of how much history is in this one place.
Exposición permanente
Forma la colección permanente un numeroso conjunto de piezas (más de siete mil, sin contar libros, documentos y fotografías), de lo que se expone aproximadamente un cincuenta por ciento, que se agrupa en cuatro grandes áreas: Biología marina, Carpintería de ribera, Pesca tradicional e Historia de la navegación. Hagamos una breve descripción de sus contenidos.
Biología marina
El área de Biología marina sirve como una introducción al medio marino, y está formada por una amplia muestra de flora y fauna marinas, que abarca desde los tiempos prehistóricos (representados por numerosos especímenes fósiles), hasta los peces vivos que evolucionan en unos pequeños acuarios. Hay una espléndida colección de malacología, con bellos ejemplares que sorprenden por su brillo y colorido, y también crustáceos, corales, esponjas, aves que habitan los acantilados,..
Carpintería de ribera
La Carpintería de ribera puede considerarse uno de los puntos fuertes del Museo, pues hace honor a la importancia secular que tuvo en Luanco, donde se construyeron innumerables embarcaciones para todos los puertos del Cantábrico. Se ubica en la nave central del Museo, donde se ha reconstruido el casetón de un astillero, formado con elementos auténticos de antiguos talleres: herramientas, plantillas, gálibos, vagras, piezas de madera.
Pesca tradicional
El área de Pesca tradicionalestá próxima a la de Carpintería de ribera, compartiendo con ella la nave central, ya que entre ambas existe una obvia relación de complementariedad. Conforma esta sección una gran variedad de artes y aparejos de pesca -redes de abareque, volanta, palangres, caceas, cales, nasas, cedazos, trueles, fisgas, poteras,...-, clasificadas según las especies a capturar, todas del entorno del Mar Cantábrico -bonito, congrio, lubina, xarda, palometa, merluza, besugo, pulpo, angula...
Historia de la navegación
La sección de Historia de la navegación ocupa la segunda planta y en ella se hace un recorrido por la evolución de la tipología de los buques, con la exhibición de casi un centenar de maquetas elaboradas con todo detalle. Desde la remota Antigüedad hasta la actualidad, se pueden ver barcos egipcios, fenicios, griegos, romanos, vikingos, que dan paso al desarrollo de la vela con la carabela portuguesa, el galeón español, los espectaculares navíos de gran aparejo y los rápidos clipers, para desembocar en los barcos de vapor y después en los de motor.
A Subcomissão Permanente de Acompanhamento do Setor de Mineração realiza, nesta segunda-feira (19), audiência pública para discutir sobre a disponibilidade de insumos minerais para a agricultura e a pecuária.
Participam:
secretário Executivo da Associação Brasileira das Indústrias de Tecnologia em Nutrição Vegetal (ABISOLO), José Alberto Nunes da Silva;
diretor Executivo da Associação Nacional para Difusão de Adubos (ANDA), David Roquetti Filho;
senador Wilder Morais (PP-GO);
deputado federal, Domingos Sávio (PSDB-MG);
consultor na Área de Biotecnologia da Confederação da Agricultura e Pecuária do Brasil (CNA), Reginaldo Minaré.
Foto: Waldemir Barreto/Agência Senado
Emilio Rabasa Gamboa, Ambassador, Permanent Representative of Mexico to the OAS
Date: July 9, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Foto's BZ | Kick Smeets
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Ambassadeursconferentie in teken van spanningen in de wereld
In de week van 29 januari zijn de Nederlandse ambassadeurs, consuls-generaal en permanente vertegenwoordigers bij internationale instellingen in Nederland voor de jaarlijkse ambassadeursconferentie. Zij halen de contacten aan met de politiek, het bedrijfsleven, kennisinstellingen en maatschappelijke organisaties in Nederland.
De ambassadeurs maken nader kennis met de nieuwe ministers Zijlstra en Kaag en bespreken het buitenlandbeleid van het nieuwe kabinet. Daarnaast staat de conferentie voor een belangrijk deel in het teken van de spanningen in de wereld en de kansen die het buitenland biedt voor Nederland.
Op maandag spreken de topdiplomaten met ministers Zijlstra en Kaag en minister-president Rutte over het beleid van het nieuwe kabinet. Ook spreken ze met Kim Putters van het Sociaal en Cultureel Planbureau over de ontwikkelingen in Nederland. Op dinsdag wisselen de ambassadeurs onderling en met experts van gedachten over onderwerpen als geopolitieke trends, migratie, voorkomen van radicalisering, hulp aan Nederlanders in nood en Holland Branding.
Op woensdag zijn er eerst deelsessies per regio. De middag staat in het teken van economische diplomatie. De ambassadeurs zijn te gast in de Van Nellefabriek in Rotterdam, waar ze door onder andere Hans de Boer van VNO-NCW worden bijgepraat over de Nederlandse economie. Daarna hebben de ambassadeurs speeddates met honderden ondernemers die hulp of advies willen van een diplomatieke vertegenwoordiging.
Op donderdag hebben de ambassadeurs onder andere bijeenkomsten met leden van de Eerste en Tweede Kamer en met bewindslieden van diverse vakdepartementen.
Nederland heeft 118 ambassadeurs, 25 consuls-generaal en 9 zogeheten Permanente Vertegenwoordigers bij internationale organisaties zoals de EU, de VN en de NAVO.
From left to right:
Hugo de Zela, Chief of Staff of the OAS Secretary General
Luis Fernando Carrera, Minister of Foreign Affairs of Guatemala
José Miguel Insulza, OAS Secretary General
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Jean-Baptiste-Camille Corot - French, 1796 - 1875
Rocks in the Forest of Fontainebleau, 1860/1865
West Building, Ground Floor — Gallery G21
Dense green vegetation surrounds a band of sun-dappled boulders that arc shallowly across this horizontal landscape painting. Just to our left of center and on our side of the boulders are several slender tree trunks. The area beyond the boulders is a haze of loosely painted moss and pine green. The tree trunks and rocks are painted in tones of sable, peanut, sand, and dark brown. The artist signed the lower left, “COROT.”
Jean-Baptiste-Camille Corot, born in Paris in 1796, was the son of a prosperous draper and of a mother well known as a fashionable modiste in the years of the Empire and the Restoration. The infant was put in the care of a nurse in a village near L'Isle-Adam on the Oise river, where he grew into a sturdy and cheerful country boy. After grammar school in Paris, he attended a lycée in Rouen (1807-1812) under the guardianship of M. Sennegon, a quiet man and lover of nature, who often took him on meditative evening walks. Two further years in a boarding school near Paris concluded his formal studies, which, though far from brilliant, left him with a predilection for classical literature and its values of harmony and style.
His tastes inclined him to art, but his father wanted him to become a merchant. Apprenticed to a draper, Corot demonstrated his incompetence for business. Placed in another firm, under an indulgent manager, he proved employable as a delivery boy, though much given to admiring the sky and loitering at shop windows. To satisfy his appetite for work with pencil and brush, he enrolled in evening sessions at the private Académie Suisse, where, for a fee, he could draw the posing model.
When in 1822, aged twenty-six, he was still without a profession, his parents despaired of his fitness for moneymaking and settled an annuity on him that allowed him to go his own way. He found a studio near his parents' shop and took instruction from a painter of his own age, Achille-Etna Michallon (1796-1822), laureate of the Rome Prize for Historical Landscape in 1817, who had recently returned from Rome. Corot sketched with Michallon in the environs of Paris, but their work together ended when Michallon died in September 1822. He next turned to Jean-Victor Bertin (1767-1842), a more rigorous classicist, who in the course of three years thoroughly initiated him to his methods, but from whom Corot had the wit to absorb only what suited his own vision. He set up his easel on the quays of Paris, sketched from nature in Normandy, in the forest of Fontainebleau, and at Ville-d'Avray, where his parents owned a country house. His early development was rapid and sure. The studies from 1822-1825 already contain, in their modest directness and lucidity, the essence of his personal style.
To further his education, he started in the fall of 1825 on the obligatory voyage to Italy. Arriving in the rainy Roman winter, he began with studies of street people whom he posed casually in his room at the Spanish Steps. In his small, candidly direct pictures of Italian folk he avoided the picturesque or sentimental conventions then in vogue among his French colleagues, who in their turn regarded him with friendly condescension. Rome's art treasures did not greatly interest him. He spent little time in the churches and galleries but was drawn to the Roman townscape with its tawny brickwork under azure skies. In the spring of 1826 he worked daily in the Farnese Gardens painting the prospect of Roman ruins spread before him in the slanting light of morning or afternoon. With an instinctive sense of arrangement, conditioned by the lessons of his former teachers, he gave his studies a seemingly natural harmony and balance, responding as much to the light and atmosphere of these views as to their material features. In the fairweather months of 1826 and 1827, he searched the environs of Rome for motifs, and found one, the bridge at Narni, on which he based the picture with which he made his debut at the Paris Salon of 1827 (National Gallery of Canada, Ottawa). After further excursions and a visit to Naples, he left Rome in September 1828 and returned to Paris by way of Venice. Back in France, he settled into an annual routine of travel and open-air sketching in spring and summer, followed by winter work in the studio to elaborate his sketches into exhibitable compositions. The outbreak of revolution in July 1830 briefly disturbed his rounds, sending him for shelter to Chartres, where he accomplished one of the most serene of his architectural landscapes, Chartres Cathedral (Louvre).
Corot understood that to be noticed on the crowded walls of the Salon he must work on an impressive scale and introduce interesting subject matter into his foregrounds. Using studies gathered in Italy and in the forest of Fontainebleau, he composed landscapes of increasingly large size for exhibition, enlivening their foregrounds with rustic genre motifs. His first success came at the Salon of 1833, where his Vue de la forêt de Fontainebleau (location unknown), reminiscent of John Constable's (1776-1837) Hay Wain (exhibited in Paris in 1824, National Gallery, London), won a silver medal. His simple landscapes nevertheless attracted little notice and no purchasers. To give his work something of the prestige of "historical" landscape, Corot in 1834 introduced a biblical motif, a meditating Magdalene, into the composed landscape of unusually large size that he sent to the Salon of that year, the National Gallery of Art's Forest of Fontainebleau (1963.10.109).
In May 1834 he set out on a six-month tour of northern Italy, traveling along the Mediterranean coast to Genoa, Pisa, and Volterra, and continuing to Florence and Venice. His studies from this second Italian voyage, fewer in number, are larger and more richly furnished than those of his first stay. Back in France, he resumed his effort to go beyond pure landscape in his Salon exhibits by giving them a narrative content. His yearly submissions to the Salons, starting with Hagar in the Wilderness (1835, Metropolitan Museum of Art, New York) and continuing through the end of the 1830s with Diana and Actaeon (1836, also Metropolitan Museum of Art), Saint Jerome in the Desert (1837, church, Ville-d'Avray), Silenus (1838, The Minneapolis Institute of Arts), and Flight into Egypt (1840, church, Rosny-sur-Seine), gradually gave him visibility as a painter of "historical" landscape. Classicist training and an innate disposition enabled him to integrate various studies in one well-ordered design, without strain or recourse to formulas. His View near Volterra of 1838 at the National Gallery of Art (1963.10.111), blending earlier landscape studies with discreet borrowings from the masters, preserves the freshness of observed reality.
Until his mid-forties, Corot, still dependent on his parents who fondly regarded him as a talentless amateur, lived on his small allowance, cheerfully productive despite the public's indifference. But among artists he was beginning to find admirers. The first signal of official recognition was given him at the Salon of 1840 when the government bought his Le Petit Berger (La Cour d'Or, Musées de Metz), an early example of what came to be known as his "lyrical" style. In May 1843 he departed on his third and last Italian voyage, traveling directly to Rome for a six-months' stay, during which he took excursions to Tivoli, Genzano, and Lake Nemi. In a number of the relatively few paintings from this journey--The Gardens of the Villa d'Este (Tivoli) (Louvre), a study of early twilight, and The Goatherd of Genzano (The Phillips Collection, Washington, D.C.), an impression of hot sunlight--his naturalism attained its ultimate refinement.
On his return to Paris in 1844 he resubmitted his Destruction of Sodom (Metropolitan Museum of Art, New York) to the Salon from which it had been rejected the year before and had the satisfaction of seeing it hung. The following year, he showed Homer and the Shepherds (1845, Musée des Beaux-Arts, Saint-Lô) in which the landscape setting, though based on a drawing from nature, is more artificial and poetically vague than the backgrounds of his earlier historical compositions. His Forest of Fontainebleau (exhibited as Vue des gorges d'Apremont at the Salon of 1846, Museum of Fine Arts, Boston), by contrast, indicates the persistence of a robustly naturalist strain in his work, reflecting his encounters with Théodore Rousseau and Jules Dupré at about this time. In 1846 the government awarded Corot the cross of the Legion of Honor. Major state commissions now came to him, among them a large Baptism of Christ (1847, Saint-Nicolas de Chardonnet, Paris). When his father died in 1847, Corot interrupted his study travel to devote himself to his mother with whom he went to live at Ville-d'Avray. The Revolution of 1848 passed him by, as had that of 1830. At the jury-free Salon of that year he showed no fewer than nine paintings and received a second-class medal. In 1851 his mother died. Corot, now orphaned at fifty-five, warded off loneliness by staying with hospitable friends in various parts of France. Between these adoptive homes he traveled in yearly rounds, combining landscape study with the pleasures of cordial domesticity.
Corot's work from this time on fell into three main categories: private studies from nature of landscape or of the human figure; historical compositions destined for the Salon; and work for sale--composed landscapes in hazily atmospheric settings for which there developed a strong demand. Studies from nature Corot usually secreted in his studio, to be seen only by friends. His Port of La Rochelle (1851, Yale University Art Gallery, New Haven) is exceptional in being a finished study that he chose to show at a Salon (1852). For public exhibition he preferred narrative figural compositions on religious or literary subjects, such as his Saint Sebastian Aided by the Holy Women (1853, The Walters Art Gallery, Baltimore), in which he placed figures of remarkable expressive vigor in shadowy dream landscapes that were only remotely derived from his nature studies, but perhaps owed something to his enjoyment of the theater and its scenery. For sale, he produced what came to be expected of him: harmonious arrangements of diaphanous trees, crepuscular skies, and distant sheets of water, nostalgic memories of favorite sites in Italy or France. The steady, rising demand for these landscape-poems by collectors and dealers tempted him into repetition. Soon, his own large output was augmented by a flood of vulgarizing imitations and forgeries.
The Universal Exposition of 1855, at which six of his paintings were shown, confirmed his popular success and won him a gold medal. Napoleon III put the official seal on the fashion for Corot's lyrical landscapes by purchasing his Souvenir de Marcoussis (1853, Musée d'Orsay, Paris) for his personal collection. Corot sometimes combined his "lyrical" manner with subjects taken from reality, composing foregrounds of feathery trees through which, as through a screen, he opened views into distances occupied by buildings as concrete and clearly defined as those in his early townscapes. The visual precision evident in such later paintings as Mantes Cathedral (c. 1865, Musée Saint-Denis, Reims), The Bridge of Mantes (c. 1868, Louvre), and the National Gallery of Art's Ville-d'Avray (1955.9.1) proves that, despite his concessions to decorative or poetic effect, Corot had lost nothing of his keenness of observation.
Portraits and figure studies, painted on the side throughout his life, took on a new importance in his private work of the 1850s and 1860s. While in his imagined landscapes he cultivated a hazy indefiniteness, he went in the opposite direction in his paintings of the figure. Posing models in costume or in the nude, he stressed their physical presence, defining their bodies with sculptural vigor and their costumes with strong color. In 1866-1870 he suffered attacks of gout that forced him to curtail travel and outdoor work. Confined to his Paris studio, he painted landscapes from memory and posed models in portraitlike arrangements, sometimes on a monumental scale, as in the National Gallery of Art's Agostina (1963.10.108). In a series of interiors from 1865-1872, among them the Gallery's Studio of the Artist (1942.9.11), he represented young women in Italian costume seated in his studio, in solitary meditation before an easel that holds one of his "lyrical" landscapes.
About 1870 he recovered his health and worked with undiminished energy, sustained by a robust constitution. Throughout the Franco-Prussian War and the siege of Paris (1870-1871), he remained at work in his Paris studio. The civil war of the Commune in 1871 drove him to the provincial quiet of Douai, where he painted a masterly townscape, The Belfry, Douai (1871, Louvre), as subtle in color and firm in handling as any of his architectural views of the 1830s. When peace returned, he resumed his migratory life, spending the year of 1872 in constant travel and outdoor painting. In his final years, his early, naturalist tendencies reasserted themselves in subjects taken from reality, such as his Interior of Sens Cathedral (1874, Louvre), which show that he preserved his clarity of vision and noble refinement of color to the end. He died on 22 February 1875 after a brief illness.
For half a century, Corot's fame rested entirely on his late, composed landscapes. His studies from nature remained largely unknown. A drastic reevaluation occurred after 1900, when critics, surfeited with the "poetic" manner, discovered his early sketches and judged their freshness preferable to the repetitiousness of the later compositions. Meanwhile, this estimate is itself being revised; the qualities of Corot's best composed landscapes, no longer obscured by overfamiliarity, are being valued once again. [This is the artist's biography published in the NGA Systematic Catalogue]
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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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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o seguinte tema: "Atualização dos dados climáticos das regiões brasileiras."
Mesa:
relator da CMMC, deputado Edilázio Júnior (PSD-MA);
diretor do Instituto Nacional de Meteorologia (Inmet), Carlos Edison Carvalho Gomes;
diretor do Instituto Nacional de Pesquisas Espaciais (Inpe), Darcton Policarpo Damião.
Foto: Jefferson Rudy/Agência Senado
Ah Ken is the first Chinese person credited as having permanently immigrated to Manhattan Chinatown in 1858, and as a Cantonese businessman founded a successful cigar store on Park Row. He may also have boarding house on lower Mott Street and rented out bunks to the first Chinese immigrants arriving in Chinatown. In 1872, Wo Kee, a Chinese merchant, opened a general store on Mott Street near Pell Street. In the years to follow, Chinese immigrants would carve out an enclave around the intersection of Mott, Doyer, and Pell Streets. These three blocks (Mott Street, Pell Street, and Doyer Street) were the main area for original old Manhattan Chinatown formed.
Mott Street is a narrow but busy thoroughfare that runs in a north–south direction in the New York City borough of Manhattan. It is regarded as Chinatown's unofficial "Main Street". Mott Street runs from Bleecker Street (original old Chinatown was from Canal Street) in the north to Chatham Square in the south. It is a one-way street with southbound-running vehicular traffic only.
Doyers Street is a 200-foot-long street in the heart of Chinatown in the New York City borough of Manhattan. It is one block in length and has a sharp bend in the middle. The street runs south and then southeast from Pell Street to the intersection of Bowery, Chatham Square, and Division Street. Two old business stores are still in operation today; The Nom Wah Tea Parlor opened at 13 Doyers Street in 1927, and Ting's Gift Shop at 18 Doyers.
The size of today Manhattan Chinatown is expanded a lot and a self-contained community with many different stores and services. In future, the size of Manhattan expects to be shrank because the area will be nobility.
Using point and shoot compact camera, most of the pictures taken in here are just the old original Chinatown area but in today scene.
Nestor Mendez, Ambassador, Permanent Representative of Belize to the OAS
Date: April 29, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião para apreciação do Plano de Trabalho e de Requerimento para realização de audiência pública.
Mesa (E/D):
vice-presidente da CMCVM, deputada Keiko Ota (PSB-SP);
presidente da CMCVM, senadora Simone Tebet (PMDB-MS);
relatora da CMCVM, deputada Luizianne Lins (PT-CE)
Foto: Waldemir Barreto/Agência Senado
Sala de comissões do Senado Federal durante audiência pública realizada pela Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) que recebe os ministros da Integração Nacional, Gilberto Occhi, das Cidades, Gilberto Kassab, e o diretor-presidente da ANA, Vicente Andreu Guillo, para debater a estrutura institucional para a gestão dos recursos hídricos.
Mesa:
relator, deputado federal Sérgio Souza (PMDB-PR);
ministro da Integração Nacional, Gilberto Occhi;
senador Otto Alencar (PSD-BA)
senador Fernando Bezerra Coelho (PSB-PE);
ministro das Cidades, Gilberto Kassab;
diretor-presidente da Agência Nacional de Águas (ANA), Vicente Andreu Guillo.
Foto: Jefferson Rudy/Agência Senado
D Wickham & Company Ltd brochure for the Special Track Recording Coach made for the British Transport Commission (1959)
En #Bogotá, acompañamos Sesión Preparatoria del Foro Permanente para las Cuestiones Indígenas de #ONU, que se realiza por primera vez en Colombia, enfocado en cambio climático y la implementación del Capítulo Étnico del Acuerdo de Paz.
«El Capítulo Étnico del Acuerdo de Paz, contiene garantías y salvaguardas para proteger a los pueblos indígenas y sus territorios. El rol de las autoridades y pueblos indígenas es imprescindible en la consolidación de la paz en Colombia. Raúl Rosende, Jefe Adjunto de la Misión de Verificación de la ONU en Colombia durante el evento de apertura.
En el evento contó la participación de la vicepresidenta de la República, Francia Elena Márquez; el canciller, Álvaro Leyva Durán; el presidente del Foro Permanente de las Naciones Unidas para las Cuestiones Indígenas, Darío Mejía Montalvo; la jefa en funciones de la Unidad de Pueblos Indígenas y Desarrollo de UNDESA, Rosemary Lane; representantes de organizaciones de sociedad civil y comunidad internacional.
Foto por: Santiago Puentes/Misión de Verificación de la ONU en Colombia
From left to right:
Luis Chuquihuara, Ambassador, Permanent Representative of Peru to the OAS
Audrey Marks, Chair of the OAS Permanent Council and Permanent Representative of Jamaica to the OAS
Nestor Mendez, OAS Assistant Secretary General
Date: October 13, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa preparatória para a Conferência das Nações Unidas sobre as Mudanças Climáticas (COP-25): propostas brasileiras para a regulamentação do Acordo de Paris e o papel do Parlamento.
Mesa:
coordenador de Comunicação do Observatório do Clima, Cláudio Ângelo;
chefe da Divisão de Meio Ambiente II do Ministério das Relações Exteriores, Marco Tulio Scarpelli Cabral;
ex-ministro do Meio Ambiente e secretário de Estado do Meio Ambiente do Distrito Federal, Sarney Filho;
relator da CMMC, deputado Edilázio Júnior (PSD-MA);
encarregada de negócios da Embaixada da Polônia no Brasil, Marta Olkowska;
segundo secretário da Embaixada do Chile no Brasil, Diego Araya;
coordenador-geral de mudanças climáticas do Ministério da Agricultura, Pecuária e Abastecimento (Mapa), Elvison Nunes.
Foto: Jefferson Rudy/Agência Senado
From left to right:
Luis Almagro, OAS Secretary General
Ralph Samuel Thomas, Ambassador, Permanent Representative of Jamaica to the OAS
Juan José Arcuri, Chair of the OAS Permanent Council and Permanent Representative of Argentina to the OAS
Date: April 26, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Ooooh, this was a harder one. This is my take on PERMANENT. Change is permanent... nothing really stays the same.
See www.kalbarteski.com for more.
From left to right:
Lou-Anne Gaylene Gilchrist, Ambassador, Permanent Representative of Saint Vincent and the Grenadines to the OAS
Luis Almagro, OAS Secretary General
Nestor Mendez, OAS Assistant Secretary General
Date: October 26,2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa preparatória para a Conferência das Nações Unidas sobre as Mudanças Climáticas (COP-25): propostas brasileiras para a regulamentação do Acordo de Paris e o papel do Parlamento.
Mesa:
chefe da Divisão de Meio Ambiente II do Ministério das Relações Exteriores, Marco Tulio Scarpelli Cabral.
Foto: Jefferson Rudy/Agência Senado