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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.
my mom informed me that people who are pigs in the year of the pig are supposed to suffer bad luck... but one of the ways to ward against evil/bad luck is to wear red... so aside from my red knickers... i now have a red permanent bracelet...
not really one to be superstitious but i was thinking the other week after i wiped out on my bike that since the chinese new year started... i've wiped out on 3 occasions... and i've been on a no wipe out roll...
On Saturday, Jan. 8, 2022, at the Cathedral of Saint Andrew, Bishop David Walkowiak ordained Daniel Esch, Michael Hollern, Thu Le, Donato Perez, Brian Piecuch, Tom Roberts and Gregory Sokolowski to the permanent diaconate for our diocese. Family, friends, members of the clergy and religious were present to support and celebrate with each new deacon and their families. These men are the first class of deacon candidates to complete formation under the restored diaconate program in the Diocese of Grand Rapids. The program was reinstated by Bishop Walkowiak in 2017.
(Photo by Jaymie Perry)
The new shape of Scotti's lips is amazing - perfectly symmetrical. You'd never know she was born with a cleft lip.
From left to right:
Juan Pablo Lira, Ambassador, Permanent Representative of Chile to the OAS
Elliston Rahming, Chair of the OAS Permanent Council and Permanent Representative of Bahamas to the OAS
Date: July 13, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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.
The Halt at the Inn - 1645
Isack van Ostade
Dutch, 1621 - 1649
The vivid sense of daily life that seventeenth-century Dutch artists conveyed in their work is one of that period’s most delightful aspects, and Isack van Ostade was the most important of a number of Haarlem artists who painted rural life at that time. The social area outside a tavern became one of his favorite subjects, providing him the opportunity to combine his skills both as a landscapist and as a genre painter.
In this painting, we witness the bustle of activity outside a village inn as two well-dressed travelers arrive and dismount from their horses. A woman with a child strapped to her back has stopped to watch, and others converse with the travelers. The street is filled with people, and the informality of all these human interactions creates a sense of conviviality. Van Ostade carefully depicts the timeworn brick-and-mortar construction of the inn and accentuates the charming character of the scene with details such as the vines clinging to the buildings. He exaggerated the level of disrepair to make the structures more picturesque. Such liberties in his painted works are revealed by the drawings he made from life on his treks in the countryside around Haarlem, which clearly show the various inns to be in good repair.
A student of his more famous older brother Adriaen van Ostade (1610–1685), Isack died at the young age of twenty-eight. Despite his short artistic career, he had a significant influence on his contemporaries, including Jan Steen (1625/1626–1679), with whom he occasionally collaborated.
A group of pale-skinned men, women, and children along with a few horses and dogs form a loose line across a dirt road, which is flanked with rows of buildings on both sides that converge in the tree-filled distance in this horizontal painting. The scene is painted mostly with sage and moss green, peanut and caramel brown, cream white, and black. Most of the people wear hats or caps. The women wear long dresses and the men wear jackets and pants. One man wearing a black jacket with buttons down the front, and with white at the neck and cuffs, leans down from atop a black horse at the center of the group. Another man with a tall, cream-white, brimmed hat and white collar stands behind a dappled horse to our right of center. Men, women, and children, most wearing tattered and worn clothing, look on. One woman to our left holds a baby strapped to her back and others gather around the horses. A pair of men in front of a stone building to our right smoke long, white, tobacco pipes. Others peer out of the open door and windows. An illegible wooden sign hangs above the door. Leafy vines grow over parts of the building façade. To our left, a woman sits on the ground and holds a spindle as she winds wool with a spinning frame. A man leans down over her shoulder, and a child looks away from us, into a fenced enclosure in front of a building. People, horses, dogs, and chickens are scattered along the road into the distance, and a church steeple rises against the ivory-white clouds in the sky beyond. A partial inscription with the artist’s name and date appears in black paint in the lower right corner: “Isack van Os 164.”
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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60045 'The Permanent Way Institution' gets very up close and personal with a Cemex wagon at Peak Forest.
From left to right
José Luis Ramirez, Minister Plenipotentiary, Alternate Representative of Colombia to the OAS
Roy Chaderton, Ambassador, Permanent Representative of Venezuela to the OAS
Date: July 24, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Mission of Principality of Monaco to the UN, New York, 17 September 2022.
© ITU/ M. Jacobson-Gonzalez
Comissão Permanente Mista de Combate à Violência contra a Mulher: Deliberação sobre as emendas da comissão ao PLN 7/2015-CN - Orçamento 2016.
Mesa E/D:
senadora Lúcia Vânia (PSB-GO);
presidente da comissão, senadora Simone Tebet (PMDB-MS);
vice -presidente da comissão, deputada Keiko Ota (PSB – SP).
Foto: Jefferson Rudy/Agência Senado.
José María Argueta, Ambassador, Permanent Representative of Guatemala to the OAS
Date: July 9, 2014
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Makeup plays The Drunken Unicorn, Atlanta, GA on September 18, 2015.
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From left to right:
Juan Pablo Lira, Ambassador, Permanent Representative of Chile to the OAS
Elliston Rahming, Chair of the OAS Permanent Council and Permanent Representative of Bahamas to the OAS
Nestor Mendez, OAS Assistant Secretary General
Date: July 13, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Mission of Italy to the United Nations - Change The World Model UN 2017
Closing Ceremony Agenda
General Assembly Hall, United Nations Headquarters
Source: livinghistories.newcastle.edu.au/nodes/view/10295
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A Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) promove reunião para lançamento da Cartilha "Lei Maria da Penha - Perguntas e Respostas". Logo depois, apresentação da pesquisa DataSenado sobre Violência Familiar e Doméstica Contra a Mulher. Em seguida, a comissão analisa requerimentos.
Deputada federal Benedita da Silva (PT-RJ), ao centro.
Foto: Edilson Rodrigues/Agência Senado
The world’s largest permanent exhibition space for Western art is in Cartersville, Georgia at the Booth Western Art Museum.
Open since 2003 and located just north of Atlanta along I-75, the Booth is the largest museum of its kind in the Southeast and an Affiliate to the Smithsonian Institution. At 120,000 square feet, the Booth is an architectural wonder – designed to resemble a modern pueblo and constructed from Bulgarian limestone. The Booth’s permanent collection of Western art, Presidential portraits and letters, and Civil War art allows visitors to “See America’s Story” – the land, people, struggles, dreams, and legends – in paintings, sculpture, photography and artifacts. Sagebrush Ranch is an award-winning, hands-on experience and interactive children’s gallery.
Western art in Georgia, specifically Cartersville? Booth Museum was started by a family who call Cartersville home and have been Western art collectors for many years. It was their wish to share their art with the community, particularly young people who might not otherwise be exposed to art. The Museum was named for Sam Booth, a good friend and mentor to the founders of the Museum. Booth Western Art Museum is operated under the umbrella of Georgia Museums, Inc., which also includes Tellus Science Museum, Bartow History Museum and, coming soon, Savoy Automobile Museum.
Since opening, more than 3/4 million people have visited the Booth. As the buzz surrounding the Booth continues to grow, so does the Museum’s accolades, including being named the 2016 Escape to the Southeast Travel Attraction of the Year by the Southeast Tourism Society, 2016 Reader’s Choice “Best Western Museum” in America by True West Magazine, listed among “The South’s Best Museums” by Southern Living, top 10 ranking in “30 Must-See Art Museums In The U.S.” by thecareerartproject.com, and one of “5 U.S. Art Museums to Add to Your Bucket List” by thedailyquirk.com.
The Booth’s permanent collection covers more than a dozen galleries, showcasing legendary artists such as Frederic Remington and Charles Russell to contemporary masters Howard Terpning and Andy Warhol. Unique to the Booth, the Millar Presidential Gallery displays a portrait and original hand-signed letter from each U.S. President, George Washington through Donald Trump. Supplementing the permanent collection are several temporary galleries, hosting 10 to 12 exhibitions per year.
In addition to “Seeing America’s Story” in our galleries, visitors can experience American heritage through several annual events, plus lectures, programing, and exhibition openings. Each February the For the Love of Art Gala Weekend features live and silent art auctions generating funds needed to help support the Museum’s mission. Every March the Southeastern Cowboy Gathering features traditional Cowboy food, music and poetry. October brings the Southeastern Cowboy Festival & Symposium with Native American dancing, gun fight reenactments, art history lectures, a Western marketplace and much more. The museum also welcomes visiting artists and scholars to speak at twice monthly lectures and exhibition openings throughout the year.
Rally initiated by the Refugee Action Collective (RAC) Melbourne, demanding permanent visas for refugees and asylum seekers.
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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater a desertificação.
Mesa (E/D):
chefe geral da Embrapa Amazônia Oriental, Adriano Veturieri;
pesquisador da Embrapa Semiárido, Iêdo Bezerra de Sá;
vice-presidente da CMMC, deputado federal Sarney Filho (PV-MA);
presidente da CMMC, senador Fernando Bezerra Coelho (PSB-PE);
pesquisadora da Embrapa Semiárido, Vanderlise Giongo;
assessor do Centro de Gestão e Estudos Estratégicos do Ministério da Ciência, Tecnologia e Inovação (MCTI), Antônio Rocha Magalhães
Foto: Edilson Rodrigues/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para debater sobre a “Procuradoria Especial da Mulher e a atuação do Poder Legislativo na prevenção e enfrentamento da violência contra as mulheres”. As parlamentares ainda apreciam requerimentos.
Bancada:
membro do Conselho dos Direito da Mulher do Distrito Federal, Lucia Bessa, em pronunciamento.
Foto: Waldemir Barreto/Agência Senado