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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 transports
Lieux : 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 Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para debater participação na COP-24, tratar da agenda do parlamento e implementação do Acordo do Clima pelo Brasil.
À mesa, em pronunciamento, secretário de Mudança do Clima e Florestas do Ministério do Meio Ambiente (MMA), Thiago de Araújo Mendes.
Foto: Roque de Sá/Agência Senado
Stephen Charles Vasciannie, Chair of the OAS Permanent Council and Permanent Representative of Jamaica to the OAS
Date: July 24, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Nanny and Child, 1877/1878
Eva Gonzalès
West Building, Main Floor — Gallery 89
Born into a wealthy Parisian family, Eva Gonzalès focused on the experiences of upper-class women, drawing from her own observations. This painting presents a familiar scene of domestic life: a nanny tending to her charge. Seated in a garden on a lazy summer day, the nanny seems distracted. Like the parasol lying at her feet, her responsibilities are briefly forgotten. The little girl plays nearby, also lost in her own world. Is Gonzalès drawing parallels between the two?
Although a close associate of the impressionists who shared their dedication to the portrayal of modern life, Eva Gonzalès never participated in their group exhibitions. Born into an artistic family—her father was a well-known writer and her mother an accomplished musician—Gonzalès discovered her vocation at an early age. In 1865, the sixteen-year-old Gonzalès began her formal studies under Charles Chaplin, a society painter who ran a well-known art studio for women. She remained under his tutelage for two years.
In February 1869, Gonzalès was introduced to Edouard Manet. He painted her portrait and she soon became his student, the only one that Manet ever acknowledged. Manet’s influence was profound. Like her mentor, Gonzalès revealed a marked preference for subjects drawn from modern life, but it is in her technique with its emphasis upon overall tonal relationships and the privileging of form over detail that Manet’s influence is truly felt. This is particularly apparent in early works such as The Little Soldier (Musée Gaston Rapin, Villeneuve-sur-Lot), the painting with which she made her debut at the Salon of 1870.
Nanny and Child is perhaps Gonzalès’ most accomplished work. Executed at Dieppe, a locale Gonzalès frequented throughout the 1870s, this painting is a subtle, yet unmistakable homage to Manet’s great painting The Railway (1956.10.1). Gonzalès used the same compelling interplay of figures: the seated nanny who gazes out at the viewer and a young charge who grasps the bars of a fence, her body turned away and her features shown in lost profile. As in Manet’s painting, the brushwork here is lush, the forms vigorously drawn and detail minimized, the palette restrained and low key.
Most striking, however, are the ways in which Gonzalès consciously diverged from Manet’s model. Whereas Manet’s work feels somewhat claustrophobic, with figures trapped between the shallow foreground and the black metal bars of the fence behind them, Gonzalès’ painting delights in open space. Despite the summary depiction of the garden, she reveals a sensitivity to the play of sunlight as it peeks through the trees and dapples the ground, suggesting that she may have painted the work at least in part out of doors. Consequently, the figures seem to inhabit a landscape, rather than pose against a backdrop. Nanny and Child is not a mere imitation of Manet’s painting, but a thoughtful and highly original response to the subject, reimagined and transformed into something entirely new and undeniably her own.
This painting was first exhibited at the Paris Salon of 1878, where it was shown under the title Miss et bébé. Contemporary audiences would have easily recognized the allusion to the nanny’s English nationality, a sign of wealth and prestige in a class-conscious society. Critical response to the work was mixed. While the writer Eugène Véron considered the little girl pretty and the overall composition satisfying, he found the modeling of the nanny lacking and likened her to a Japanese print, which was viewed as negative at the time. The critic Castagnary was more appreciative, however, admiring Gonzalès’ ability to capture nature in rapid strokes. Gonzalès’ career was brief. She died during childbirth in 1883 at the age of thirty-four, just six days after the death of her mentor Manet. Gonzalès left behind a modest oeuvre of paintings and pastels; eighty-eight of them, including Nanny and Child, were shown in a posthumous retrospective held at the Salons de la Vie Moderne.
NotesEugène Véron, "Le Salon de Paris, scènes de la vie contemporaine," L’Art, 14 (1878), 161–162.Castagnary, Salons (1857–1879), vol. 2 (Paris, 1892), 350.
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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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PictionID:43064173 - Catalog:14_004123 - Title:STUB Tank Details: Damaged Skin 01/08/1958 - Filename:14_004123.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Luis Ernesto Vargas Silva, Ambassador, Permanent Representative of Colombia to the OAS
Date: September 28, 2022
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
Thomas Gainsborough - British, 1727 - 1788
Seashore with Fishermen, c. 1781/1782
West Building, Main Floor — Gallery 58
From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
Gainsborough's landscapes are highly personal statements that evolved from ideas and images he developed in his studio, either directly on canvas or in scale models. In this work he focused on the physical exertions of fishermen as they confront strong winds and pounding surf. Even the massive cliff on the far side of the cove, its thrusting diagonal posed against the wind, seems to echo the efforts of the men struggling to launch their boat into the waves.
Gainsborough owned works by Dutch marine painters, and their influence is evident here. His own free and suggestive painting technique, however, gives the scene a unique degree of freshness and spontaneity. He applied his paint in thin, translucent layers that are accented by deft touches of impasto, particularly in the fishermen's clothing and on the white foam of the waves. A restrained palette of browns and creams suggests the shore and rocks; gray-greens, gray-blues, and white highlights describe the sun-filled expanse of the sea, while the sky is colored with delicate hints of purple, blue, and pink.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Thomas Gainsborough was born in Sudbury, Suffolk, the youngest of the nine children of John Gainsborough and the sister of the Reverend Humphry Burroughs; he was baptized in Sudbury on 14 May 1727. He attended Sudbury Grammar School, of which his maternal uncle was the master. He took to sketching at an early age, and when he was thirteen prevailed upon his father to send him up to London to become an artist. A pupil of the French illustrator and draftsman Hubert Gravelot, Gainsborough was intimately involved with avant-garde rococo art and design, and seems to have assisted Francis Hayman on his genre paintings for the decoration of Vauxhall Gardens.
After a short period on his own in London between about 1744 and 1748, during which he painted small-scale portraits and landscapes in the manner of Jan Wijnants and Jacob van Ruisdael, and married Margaret Burr, Gainsborough returned to his native Suffolk. After a few years in Sudbury he moved, in 1752, to the larger seaport town of Ipswich. There is only one, uncorroborated, reference (to a visit to Flanders in later life) to suggest that he ever traveled abroad, as was customary among his fellow artists. By 1759, still finding it difficult to make ends meet and now with two daughters to support, he realized he had exhausted the possibilities of local patronage and moved to the fashionable spa town of Bath, where he achieved instantaneous success.
Set back by a nervous illness in 1763, he later became a founding member of the Royal Academy of Arts, contributing to its first exhibition a scintillating female full-length portrait in the manner of Van Dyck. Unlike many of his contemporaries, Gainsborough customarily painted his portraits entirely with his own hand; his only known assistant was his nephew Gainsborough Dupont, who was apprenticed to him in 1772.
In 1774 Gainsborough moved to London, where he settled in a wing of Schomberg House, Pall Mall. In 1777 he received the first of many commissions from the royal family. In 1780 he exhibited a wide range of landscape compositions, and in 1783 made a tour of the Lake District in search of picturesque scenery. An original printmaker, he experimented in these years with soft-ground etching and aquatint; influenced by Philippe-Jacques de Loutherbourg's popular entertainment, the Eidophusikon, he also constructed a peep-show box in which transparencies were seen magnified and lit by candles from behind, producing a dramatic and colorful effect. After quarreling with the Royal Academy about the hanging of his pictures (he rarely participated in Academy affairs), from 1784 onward Gainsborough arranged annual exhibitions in his studio. He was by then comparatively well off. He died of cancer in London on 2 August 1788.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Pairi Daiza est un parc zoologique belge wallon situé dans la province de Hainaut, à Brugelette. Fondé en 1994, il s'est appelé Paradisio de son ouverture jusqu'en 2010. Il est la propriété d'Eric Domb, fondateur du parc, et de Marc Coucke, milliardaire et président-directeur général du groupe pharmaceutique Omega Pharma.
Il présente plus de 5 000 animaux de 470 espèces sur 65 hectares. Le zoo est divisé en zones thématiques. Il est l'un des cinq parcs européens qui présentent des pandas géants.
Membre permanent de l'Association européenne des zoos et aquariums, il s'engage dans la conservation ex situ en participant à des programmes européens pour les espèces menacées (EEP), dont il en coordonne un.
Il est le zoo le plus fréquenté de Belgique, accueillant plus de 1,7 million de visiteurs par an depuis 2015.
steel, copper, fiberglass, wood
Installed: 2010/2011
Location: Chattanooga Theatre Center
Funding: City of Chattanooga
Permanent Collection City of Chattanooga
Much of John Petrey’s work has a nostalgic component that reflects various aspects of childhood memories and relationships from our past. “Blue Boy – Pull Toy #1” is a giant sized version of a child’s pull toy and a full-scaled rendition of a rhinoceros. The sculpture represents how we remembered things to be so much bigger when we were young. The pull toy is so big, it is as if a child’s personal toy has come to life and is a pet being walked on a leash. The bright blue color reflects the vividness of a child’s memory. Originally in the Fourth Biennial Sculpture Exhibition, the work was purchased in 2011 to become a permanent part of the City's public art collection.
For more information on John Petrey, visit www.johnpetrey.com.
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
Nestor Mendez, Ambassador, Permanent Representative of Belize to the OAS
Date: April 29, 2015
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Toledo, 29 de noviembre de 2021.- El consejero de Hacienda y Administraciones Públicas, Juan Alfonso Ruiz Molina, ha entregado las medallas a la permanencia a los policías locales de Castilla-La Mancha, en un acto que se ha celebrado en el parque Puy du Fou. (Fotos: A. Pérez Herrera // JCCM)
A Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) se reúne para apresentação da pesquisa sobre violência doméstica e familiar contra a mulher; apreciar o Plano de Trabalho da Comissão e analisar requerimentos.
Mesa (E/D):
ministro da Saúde Arthur Chioro;
deputada Eucione Barbalho (PMDB-PA);
senadora Simone Tebet (PMDB-MS);
senadora Vanessa Grazziotin (PCdoB-AM);
ministra Eleonora Menicucci; mulher; Thiago Cortez Costa, servidor DataSenado
Fotos: Marcos Oliveira/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza sessão especial em homenagem ao Outubro Rosa e debate sobre o tema: "Prevenção, cura e reconstrução mamária: um direito que não pode ser violado".
À bancada, senador Lasier Martins (PDT-RS).
Foto: Marcos Oliveira/Agência Senado
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza audiência pública remota para debater acerca dos deslocamentos humanos forçados e mudanças climáticas.
Requerente desta audiência, senadora Mara Gabrilli (PSDB-SP), preside sessão remotamente.
Foto: Edilson Rodrigues/Agência Senado
Permanent Groove | Flyer
25/06/2010 at Golden Gate Club Berlin.
Graphic design, layout & idea.
Remittance work, 2010.
En #Bogotá, acompañamos Sesión Preparatoria del Foro Permanente para las Cuestiones Indígenas de #ONU, que se realiza por primera vez en Colombia, enfocado en cambio climático y la implementación del Capítulo Étnico del Acuerdo de Paz.
«El Capítulo Étnico del Acuerdo de Paz, contiene garantías y salvaguardas para proteger a los pueblos indígenas y sus territorios. El rol de las autoridades y pueblos indígenas es imprescindible en la consolidación de la paz en Colombia. Raúl Rosende, Jefe Adjunto de la Misión de Verificación de la ONU en Colombia durante el evento de apertura.
En el evento contó la participación de la vicepresidenta de la República, Francia Elena Márquez; el canciller, Álvaro Leyva Durán; el presidente del Foro Permanente de las Naciones Unidas para las Cuestiones Indígenas, Darío Mejía Montalvo; la jefa en funciones de la Unidad de Pueblos Indígenas y Desarrollo de UNDESA, Rosemary Lane; representantes de organizaciones de sociedad civil y comunidad internacional.
Foto por: Santiago Puentes/Misión de Verificación de la ONU en Colombia
Source: livinghistories.newcastle.edu.au/nodes/view/10302
This image was scanned from a film negative from folder album B16369.
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Diego Pary, Ambassador, Permanent Representative of Bolivia to the OAS
Date: October 31, 2016
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza reunião para análise de requerimento; logo após, audiência interativa sobre “Bioquerosene e as Mudanças Climáticas”.
Mesa:
gestor de meio ambiente da Anac, Amintas Eugênio de Souza Filho;
diretor de relações institucionais da Associação Brasileira das Empresas Aéreas (Abear), Airton Pereira;
diretor do departamento de biocombustíveis da Secretaria de Petróleo, Gás Natural e Combustíveis Renováveis do Ministério de Minas e Energia (MME), Miguel Ivan Lacerda de Oliveira;
relator da CMMC, senador Fernando Bezerra Coelho (PSB-PE);
gerente de relações externas da Embraer, Daniel Bassani;
coordenador sênior de pesquisas em biocombustíveis da Boeing no Brasil, Onofre Andrade;
diretor de biocombustível de aviação da União Brasileira do Biodiesel e Bioquerosene (Ubrabio), Pedro Scorza;
pesquisador da Embrapa, Bruno Galveas Laviola
Foto: Waldemir Barreto/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para debater a agricultura de baixo carbono e extensão rural. Mesa (E/D): relator da comissão, deputado Sarney Filho (PV-MA); presidente da comissão, senadora Vanessa Grazziotin (PCdoB-AM)
Foto: Marcos Oliveira/Agência Senado