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Emilio Rabasa Gamboa, Ambassador, Permanent Representative of Mexico to the OAS
Date: July 9, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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
Emilio Rabasa Gamboa, Ambassador, Permanent Representative of Mexico to the OAS
Date: September 2, 2015
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
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para debater os casos de violência política contra as mulheres e traçar estratégias de enfrentamento e elaboração legislativa que visem à ampliação da ocupação dos espaços de poder e representação pelas mulheres.
Em pronunciamento, à mesa, professora da Universidade Federal de Minas Gerais (UFMG) e coordenadora de Núcleo de Estudos e Pesquisas sobre a Mulher (Nepem), Marlise Miriam de Matos Almeida.
Foto: Jane de Araújo/Agência Senado
Joel Hernandez, Ambassador, Permanent Representative of Mexico to the OAS
Date: October 19, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Michael Imran Kanu, Permanent Representative of Sierra Leone to the United Nations and President of the Security Council for the month of August, briefs reporters on the programme of work for the month.
UN Photo/Loey Felipe
1 August 2024
New York, United States of America
Photo # UN71054467
St Mungo Museum of Religious Life and Art, Glasgow, Scotland
Designed and drawn by J.T. Stewart - permanently etched in the glass by C.E. Stewart - G Macdonald craftsman 15 Elm Bank Street Glasgow
A purpose-built museum in a typical Glasgow faux-medieval style set on the edge of the Cathedral precinct. A fabulous collection cherry-picked from, among others, the Burrell Collection and the People's Palace collection.
Permanent Mission of Principality of Monaco to the UN, New York, 17 September 2022.
© ITU/ M. Jacobson-Gonzalez
Permanent Representative of Australia to the United Nations Office at Geneva attends of the Plenary 2nd Part Conference on Disarmament in Geneva. 2 June 2022. UN Photo / Jean Marc Ferré
Patrick Andrews, Ambassador, Permanent Representative of Belize to the OAS
Date: May 24, 2017
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
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
Luis F. Carranza, Minister Counselor, Alternate Representative of Guatemala to the OAS
Date: November 12, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência interativa para apresentação do Programa Ronda Maria da Penha e debater o combate da violência doméstica. Logo após, apreciação de requerimentos.
Mesa:
relatora, deputada Luizianne Lins (PT-CE);
presidente Eventual da CMCVM, deputada Moema Gramacho (PT-BA).
Foto: Geraldo Magela/Agência Senado
MUDANZAS Y PERMANENCIAS DE UNA SOCIEDAD TRADICIONAL - fragmento-
LA II REPÚBLICA EN ÁVILA -
Jennifer González López
" En una provincia pequeña, como es Ávila, con una capital también modesta la acción política o la eclesiástica se ejerce muy directamente sobre sus pobladores dibujándose muy nítidamente los grupos de seguidores. La identidad de esas agrupaciones quedaría definida por la cultura política que manifiestan o hacia la que se inclinan, si son de origen eclesiástico, pudiéndose adivinar cuál va a ser su comportamiento.
La resistencia y la oposición a los cambios que el nuevo régimen político republicano proponía a los ciudadanos en general, también a los abulenses. Hablaríamos aquí de la socialización de las ideas políticas, culturales y religiosas, que, según el grado de interiorización, lleva a un comportamiento grupal que es la suma de los individuales. Y Ávila es un reducto poco abierto al exterior y a las novedades extramuros. El conocimiento de las ofertas de cultura política de que haya dispuesto su ciudadanía y de su interiorización nos podrá explicar sus comportamientos."^
* introducción a la tesis de la autora, presentada en 2017 en la Universidad de Salamanca.
Referencias
cadenaser.com/castillayleon/2024/03/15/la-historia-de-los...
www.youtube.com/watch?v=9ZVE5RX6BHE
ÁLBUM TIPOS Y TRAJES DE ÁVILA
Marco Albuja, Ambassador, Permanent Representative of Ecuador to the OAS
Date: October 13, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
From left to right:
Luis Raúl Estevez, Ambassador, Permanent Representative of Guatemala to the OAS
Bayney R. Karran, Ambassador, Permanent Representative of Guyana to the OAS
John E. Beale, Ambassador, Permanent Representative of Barbados to the OAS
Michael J. Fitzpatrick, Deputy Interim Representative of United States of America to the OAS
Juan José Arcuri, Chair of the OAS Permanent Council and Permanent Representative of Argentina to the OAS
Luis Almagro, OAS Secretary General
Nestor Mendez, OAS Assistant Secretary General
Date: June 29, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Volcans Nevado del Tolima et Nevado de Santa Isabel (qui a presque perdu toute sa neige"permanente"...) Il y a 11 ans, sur mon premier vol Cali-Bogotá, comme touriste, j'ai vu le volcan Nevado del Wila (Huila) dégagé depuis la fenêtre sans pouvoir faire de photo (appareil inaccessible...). J'étais fasciné et, depuis lors, je rêvais de pouvoir photographier un volcan enneigé colombien depuis le ciel. Grace á Tolima BioDiversa Expediciones ce rêve s'est accompli ce 4 janvier, durant le même trajet mais de l'autre côté de l'avion, cette fois en allant retrouver des touristes que j'allais guider durant 17 jours pour cette agence de voyage ! Merci Claudia pour cela Merci Colombie !
Volcanes Nevado del Tolima y Nevado de Santa Isabel (quien casi perdió toda su nieve "permanente"). Hace 11 años, en mi primer vuelo Cali-Bogotá, siendo turista, ví al Volcán Nevado del Wila (Huila) despejado desde la ventana sin poder hacerle foto (cámara inaccessible...). Quedé fascinado y, desde entonces, soñé poder fotografiar a algún volcán nevado colombiano desde el cielo. Gracias a Tolima BioDiversa Expediciones fue sueño cumplido este 4 de enero, durante el mismo recorrido pero del otro lado del avión, esta vez para ir a juntarme con los turistas que iba a guiar durante 17 días para esta agencia de viaje ! Gracias Claudia por eso Gracias Colombia !
After the Governorship:
United Nations Photograph
"After the Governorship" presents images related to Scranton’s diplomatic and advisory service after his term as Governor, from about 1967 to 1977. Selected images relate to his participation in conferences, his chairmanship of the President’s Commission on Campus Unrest (1970), his membership on the President's Price Commission (1971-1972); and his service as 13th Permanent U.S. Representative to the United Nations (March 1976 - January 1977).
Creator: Unattributed
Title: After the Governorship: United Nations Photograph
Subjects: Scranton, William Warren, 1917-; United Nations--Officials and employees, American
Location: Undesignated
Date: Undated
Measurements: 20.3 x 25.4 cm
Housed: Box 198.02
Preferred Citation: William Warren Scranton Papers, 1933 – 2005 (bulk 1952 – 1989), M 281, Historical Collections and Labor Archives, Special Collections Library, University Libraries, Pennsylvania State University.
Repository: Penn State Special Collections, University Park, PA, USA.
Looking for this photo at the Penn State Special Collections? You’ll find it in the Historical Collections and Archives.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para discutir plano emergencial da crise hídrica nas cidades monopolizadas por Campina Grande no Estado da Paraíba.
Mesa (E/D):
diretor presidente da Agência Executiva de Gestão das Águas do Estado da Paraíba, João Fernandes;
assessor especial do Ministro da Integração Nacional, Irani Braga Ramos;
deputado federal Rômulo Gouveia (PSD-PB);
deputado federal Leonardo Monteiro (PT-MG);
diretor da Área de Gestão da Agência Nacional de Águas (Ana), Paulo Lopes Varella Neto
Foto: Jefferson Rudy/Agência Senado
Brasília, 11/11/2013 -
1ª Encontro do Comitê Gestor do Movimento Permanente pela Conciliação.
Foto: Gil Ferreira/Agência CNJ
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para debater a situação da violência contra a mulher no campo e na floresta.
Mesa (E/D):
representante Conselho Nacional dos Seringueiros, Ângela Mendes;
representante da Confederação Nacional de Trabalhadores da Agricultura (Contag), Carliene dos Santos Oliveira;
assessor da Secretária Nacional de Segurança Pública do Ministério da Justiça (MJ), Beatriz da Cruz Silva;
relatora da CMCVM, deputada Luzianne Lins (PT-CE);
representante do Movimento Articulado de Mulheres da Amazônia, Socorro Prado;
representante da Marcha Mundial de Mulheres, Sonia Maria Coelho Gomes Orellana.
Foto: Marcos Oliveira/Agência Senado.
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Permanent collections and temporary exhibits of American, Pre-Columbian, Oriental, African, and Native American art by regional artists housed in two historic buildings.
Comissão Permanente de Educação, Cultura, Ciência e Tecnologia - 06/06/2017
Vereadores: Gláucia Berenice, Alessandro Maraca, Adauto Marmita, João Batista
Fotos: Allan S.Ribeiro
En vue de la campagne des législatives, Roland Chassain, Maire et Conseiller Général des Saintes-Maries de la Mer a inauguré sa permanence le vendredi 27 avril 2012 à Arles en présence de Jean-Claude Gaudin, Sénateur-maire de Marseille et Monique Robineau, Conseillère Régionale.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
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.
À mesa, 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