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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.
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.”
________________________________
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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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
Diego Pary, Ambassador, Permanent Representative of Bolivia to the OAS
Date: September 7, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/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]
________________________________
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...
.
Permanent Post Vacation
Rowan Moyle
Opening Tuesday 20 November 6-8pm
Tuesday 20 November – Saturday 8 December 2012
Permanent Post Vacation is an ongoing project exploring the discrepancy between our spatial experience of cities at home and overseas, as solitary backpackers and as integrated locals. I am interested in the interstitial space between arrival and settlement. The point before we fall back into the general flow of everyday life, where travel becomes more or less limited to commutation and innocent exploration is construed as loitering or time-wasting. Responding to personal feelings associated with post-travel, this project culminates in spatial interventions, walks, and other coping strategies aimed to invoke feelings of the uncanny and unfamiliar within my everyday environment.
Rowan Moyle is an emerging artist working with diverse materials and methodologies. Rowan completed a Bachelor of Visual Art and a Bachelor of Arts at Monash University in 2010. In 2011 he was awarded the Endeavour Australia Cheung Kong Award and extensively travelled throughout Japan and India. Returning to Australia in 2012, he has begun exhibiting in artist-run initiatives across Melbourne including Seventh and Platform, and has been able to utilise his recent travel experiences to provide insight into his practice and collaborative projects as a member of ACAB Collective. Rowan is currently completing a Graduate Diploma of Education at Monash University.
Inferno: A Reinterpretation of Dante
Steve Cox
Opening Tuesday 20 November 6-8pm
20 November – 8 December, 2012
Steve Cox presents a body of work reinterpreting this marvelous epic poem from the thirteenth-century, which is contained in Dante’s Divine Comedy. The text describes Dante’s journey through the nine circles of Hell. Each region contains its own specific horrors and monsters.
In a series of over sixty new works Cox re-imagines these grotesqueries and updates them to give a contemporary flavour. Dante’s rich descriptions and wild invention are perfect subject matter for Cox, who is well-known for the often black humour in his work.
The exhibition extends Cox’s interest in stream-of-consciousness pictorial invention. The works showcase his expertise with watercolour, ink and collage and, in a recent development, digital imagery.
Inferno has inspired many artists over the centuries, including William Blake, Gustave Doré and Robert Rauschenberg. Artists have continually found contemporary relevance in the text and have each brought their personal observations to the task.
As an atheist, Cox’s idea of Hell is as a useful metaphor not to be taken literally. He includes references to the marginalised, the displaced, and the outcast: all of whom have been forced to travel through their own personal Hell on earth. He has made reference to the never-ending hell of war on earth. He has also been delighted by the monstrous creatures that have emerged by chance through the fluidity of ink and watercolour.
Man’s inhumanity to man is perennial and no less current today than in Dante’s time. For Cox, this subject-matter has enabled him to create an Underworld populated by creatures if the Id. This will be his first Melbourne exhibition since 2010.
Supported by the City of Melbourne through the Arts Grants Program.
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.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
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
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para discutir candidatura do Brasil para sediar a Conferência das Partes em 2019 (COP-25).
Em pronunciamento, à mesa, relator da CMMC, senador Jorge Viana (PT-AC).
Foto: Pedro França/Agência Senado
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Espaço Grenat.
O novo empreendimento para eventos em São João Del Rei é o Espaço Grenat, conta com ampla infraestrutura para aperfeiçoar a sua festa, os destaques, é uma ampla área que comporta até 200 pessoas, podendo sediar seminários, palestras, reuniões de diretoria, confraternizações e diversos tipos de eventos sociais.
A nova casa conta com 263 metros quadrados, situada na área de preservação permanente da arquitetura colonial do centro histórico de São João Del Rei. As salas de eventos são distribuídas em dois ambientes, com composições variadas. Para a realização dos encontros, o empreendimento dispõe, também, de profissionais especializados para assessorar os clientes. No primeiro piso um amplo salão e um mezanino, além de modernos equipamentos audiovisuais, cozinha industrial e instalações sanitárias para atender aos deficientes, ideal para coquetéis e coffee breaks.
O Espaço Grenat é uma casa de luxo, localizado em área nobre da cidade: Rua Marechal Bittencourt, nº 46 centro histórico de São João Del Rei.
O endereço faz parte da Historia sanjoanese.
Quando surgem relatos sobre São João Del Rei do início do século passado, há a indicação de um polo boêmio no centro da cidade. E o coração desse reduto bêbado, musical e promíscuo foi a Rua da Cachaça. Ali, se reuniam em cabarés e bares homens de todas as idades e classes sociais: dos mais pobres aos intelectuais ricos. Hoje, esse símbolo histórico não existe mais, mas o cenário é outro. A Rua da Cachaça hoje Marechal Bittencurt do século XXI é ponto de cultura, abrigando em seus casarios preservados do inicio do século XX: Memoriais, Centro Feminino, comercio de produtos e serviços turísticos e é contemplada hoje com a inauguração do Espaço Grenat.
"Para exemplificar a antiguidade da rua e do seu nome original, num testamento com termo de abertura em 21 de setembro de 1779, Ana de Oliveira, uma negra forra, declarou que morava à Rua da Cachaça, que era viúva sem filhos e que deixaria libertos os escravos Manoel e Maria, os quais instituíram como herdeiros.
Belle has been completely deboxed. She is standing, supported by the included display stand. She can free stand, but is not very stable that way.
Here is a mini review of Belle, concentrating on the features that can only be seen when she is deboxed.
First is her amazing golden heels. They are decorated with a molded ribbon in front, and silver and yellow decorations all around the shoe. They are in the same class as the best Disney Store LE doll shoes, such those of Tiana and Harrods Elsa.
Slightly disappointing is the lack of edition number and size stamps on her back. More disappointing is that her legs were slightly warped, so her feet and shoes couldn't point in the same direction. This is common on the 2012 style Classic doll and Designer doll legs, but I don't think it's happened to my 17 inch LE dolls before.
I like the look of the plastic floral decoration at her gown's neckline a lot more than I thought I would from the previous photos I saw. But I still would have liked them to be made of cloth or embroidery. A side effect of them being plastic is that her long side curls would be caught in it when I handled the doll.
With brings me to her side curls. They look good on LE Winter Belle, but on Ballgown Belle they are more distracting, especially from certain angles. So for the later half of the photos of Belle, I moved the curls to behind her head as much as I could, which was how they were in the box pose.
One final item is that her left hand, which the Beast is holding in the box pose, is permanently bent in the middle to make it fit better in Beast's hand.
Detailed photos of my Belle and Beast Limited Edition 17 Inch Doll Set. I got it second hand, after my Disney Store order was cancelled. It looks in perfect condition, and is #107 of 500. There are two Certificates of Authenticity, one for each doll, with the same number.
The box is very similar in construction to the Jasmine and Aladdin Platinum Wedding Doll Set. I love the poses of the dolls in the box, but I will debox them anyway, as is my custom. I need to know how they look freed from the factory restraints, from all angles.
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
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) promove audiência pública para debater as finanças na era do baixo carbono. Mesa (E/D): superintendente de Meio Ambiente do BNDES, Gabriel Visconti; presidente da CMMC, deputado Alfredo Sirkis (PSB-RJ); chefe de divisão do Banco Central, Rodrigo Pereira Porto; coordenador do ministério da Fazenda, Aloisio Lopes Pereira
Foto: Pedro França/Agência Senado
Niermala Badrising, Ambassador, Permanent Representative of Suriname to the OAS
Date: June 9, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Representative of the Czech Republic to the OPCW, H.E. Ms Kateřina Sequensová, and OPCW Director-General, Ambassador Fernando Arias
Cosmetic treatments can give an unnatural looking result. Our highly skilled doctors at The Clifford Clinic strive to achieve natural looking results with state of the art treatment techniques. For more info visit: www.cliffordclinic.com/
"En mille morceaux de lumière", installation de Francois Fouilhé et Jean-Baptiste Laude, dans le cadre de la fête des Lumières, Lyon 2007.
Ma préférée de toutes les "grosses" installations de cette année. Je suis resté plus d'une heure à contempler ces citernes de récupération d'eau de pluie, posées sur les terrasses des berges du Rhône. Vagues lumineuses aux couleurs changeantes, comme les pixels d'un écran géant. Silhouettes humaines, qui passent, s'arrêtent, s'assoient au milieu de ces cubes colorés. Forcément, j'ai pensé aux silhouettes d' Yves Lorson...
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza reunião para eleição do presidente, do vice e do relator.
E/D:
senador Jorge Viana (PT-AC);
deputado Simão Sessim (PP-RJ).
Foto: Roque de Sá/Agência Senado
Andrés González Díaz, Ambassador, Permanent Representative of Colombia to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Alejandra de los Ángeles Solano Cabalceta, Ambassador, Permanent Representative of Costa Rica to the OAS
Date: MAY 12, 2023
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
From left to right:
Bernardo Álvarez Herrera, Chair of the OAS Permanent Council and Permanent Representative of Venezuela to the OAS
Nestor Mendez, OAS Assistant Secretary General
Date: November 20, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Carmen Luisa Velásquez, Ambassador, Alternate Representative of Venezuela to the OAS
Date: June 9, 2015
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião deliberativa para apresentação do plano de trabalho; deliberação das emendas ao Projeto de Lei Orçamentária Anual (Ploa) 2018; e apreciação de requerimentos.
À mesa, presidente da CMCVM, deputada Elcione Barbalho (PMDB-PA).
Foto: Pedro França/Agência Senado
156 Período Ordinario de Sesiones
20 de octubre de 2015
Hablando en el micrófono: Embajador José Luiz Machado e Costa, Representante Permanente de la Misión de Brasil ante la OEA
Crédito de la foto: Daniel Cima
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza seminário destinado a discutir e avaliar a Lei Maria da Penha. Evento integrante da programação dos 16 dias de ativismo pelo fim da violência contra a mulher.
Mesa:
representante do Consórcio Nacional de ONG’s Feministas, Silvia Pimentel;
relatora da Lei Maria da Penha no Senado Federal, senadora Lúcia Vânia (PSB-GO);
procuradora Especial da Mulher no Senado, senadora Vanessa Grazziotin (PCdoB-AM);
presidenta da Comissão Parlamentar Mista de Inquérito da Violência Contra a Mulher da Câmara dos Deputados, deputada Jô Moraes (PCdoB-MG).
Foto: Edilson Rodrigues/Agência Senado
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza 1ª audiência pública interativa para debater o Plano Nacional de Esporte.
Mesa:
especialista em Direito Desportivo, Luiz César Cunha Lima;
diretora da Organização Atletas pelo Brasil, Ana Beatriz Moser;
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
coordenador do Laboratório de Pesquisa sobre Gestão do Esporte, Paulo Henrique Azevedo;
secretário-Executivo da Rede Esporte pela Mudança Social (Rems), William Boudakian de Oliveira;
Foto: Waldemir Barreto/Agência Senado
Permanent Highway Supplemental 11B
Item 95-005-0824, series 400, Department of Transportation: Road Services Division, box 20, King County Archives.
Photographer: Patten
Virginia Beach Mayor William D. Sessoms, Jr.
On May 12, 2014, Virginia Supportive Housing and community leaders broke ground for Crescent Square, the newest permanent supportive housing development in Hampton Roads, to be located at 1333 Diamond Springs Road in Virginia Beach.
Crescent Square will be a 53,000-square-foot apartment community housing 80 individuals, including 42 single adults with permanent supportive housing and 38 single adults with low-income housing.
Learn more: bit.ly/1l4Uwga
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...