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The Permanent Unit [ www.permanent-unit.com ] working on a super-size piece for the "Lendwirbel" Streetfestival, which take place these days in Graz/Austria
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 interativa para debater política californiana para aumento da participação da energia solar na geração até 2030.
Mesa (E/D):
vice-presidente para Assuntos Governamentais e Regulatórios da 8minutenergy Renewables, Arthur Haubenstock;
presidente da CMMC, deputado Daniel Vilela (PMDB-GO);
relator da CMMC, senador Fernando Bezerra Coelho (PSB-PE).
Foto: Jefferson Rudy/Agência Senado
Brasília 18 - 05 - 2016 - Comissão Permanente de Acesso à Justiça e Cidadania – Apresentação da minuta de Resolução que dispõe sobre Justiça RestaurativaFoto: Gláucio Dettmar
Celia Toppin, Deputy Permanent Secretary in the Ministry of Community Development and Culture of Barbados
Date: March 23, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
River Landscape with Ferry - 1649
Salomon van Ruysdael
Dutch, c. 1602 - 1670
Salomon van Ruysdael’s masterful River Landscape with Ferry has a visual force that reflects the sense of pride the Dutch felt at the time of the signing of the Treaty of Münster in 1648, which gave full autonomy to the Dutch Republic. After war of independence from Spanish rule that lasted eighty years, the Dutch set out to explore the myriad visual delights of the prosperous country that they could finally claim as their own. Many went east, along the Rhine River, to see historic cities such as Nijmegen and Rhenen that had played significant roles in the formation of the Republic. Ruysdael may have traveled along these same routes, but no drawings from his hand survive to document any such journey. The large crenulated castle in this painting is a fanciful construct, but it is reminiscent of fortresslike structures situated along the Rhine in the eastern region of the Netherlands.
Ruysdael painted River Landscape with Ferry in 1649 when the full scope of his artistic personality had come to maturity. The work is imposing in scale and visually compelling, both for its harmonious composition and for the rich variety of its pictorial elements. It has wonderful atmospheric qualities, subtle reflections in the water, and delightful figures crowded into the ferryboat. The large clump of trees centers the composition and provides a sturdy framework for the animals and humans activating the scene. Ruysdael also effectively used these trees to open the sense of space, for not only does the ferryboat pass before them, but wagons loaded with passengers also travel the track behind them.
With the outbreak of World War II in the Netherlands, art dealer Jacques Goudstikker fled Amsterdam with his wife and son in May 1940, but he died in an accident on board the ship carrying him and his family to safety. He left behind most of his gallery's stock of paintings, and the Goudstikker collection, including this work by Ruysdael, was confiscated by the Nazis and delivered to Reichsmarschall Hermann Göring later that year. The Allied forces recovered the painting at the end of the war, and it was returned to the State of the Netherlands in 1948. The painting was on view in the Rijksmuseum, Amsterdam, from 1960 until 2006, at which time the heirs of Jacques Goudstikker reclaimed the collection from the Dutch government and received the restituted paintings. The National Gallery of Art acquired River Landscape with Ferry when a number of Goudstikker paintings subsequently reentered the art market.
The Haarlem landscapist Salomon van Ruysdael, who was born in Naarden, was the youngest of four sons and one daughter born to Jacob Jansz de Gooyer, a Mennonite joiner from Blaricum. After his father’s death in 1616, Salomon and two of his brothers, Isaack and Jacob, changed the family name to Van Ruysdael after the country estate ‘Ruysdael’ (or Ruisschendaal) near Blaricum.[1] Salomon, along with his brother Isaack and his nephew Ruisdael, Jacob van,[2] established themselves as artists in Haarlem, while Pieter, the only brother to keep the De Gooyer name, settled in Alkmaar as a cloth merchant. Jacob Jacobsz continued his father’s cabinet-making business in Naarden. Salomon married Maycke Willemsdr Buyse sometime before 1627; the couple had four children, one of whom, Jacob Salomonsz (1629/1630–1681), also became a painter.
Although Salomon van Ruysdael’s training is unknown, his early paintings were influenced by Velde, Esaias van de, I, who worked in Haarlem from 1609 to 1618. Ruysdael joined the Saint Luke’s Guild in 1623, and not long thereafter produced his earliest dated painting, from 1626.[3] As early as 1628 he was already praised for his abilities as a landscapist by the Haarlem chronicler Samuel Ampzing.[4] In 1637 Hendrick Pietersz de Hont became his apprentice, and Cornelis Decker is mentioned as a pupil in 1646.[5] Ruysdael may also have been responsible for the training of his son and his nephew. He remained active in the guild throughout his career, serving as a vinder in 1647, a deken the following year, and a vinder again in 1669. Later in his life, he became involved with civic affairs, serving as district master on the Kleine Houtstraat from 1659 to 1666.
Aside from being a painter, Ruysdael was also involved with several other activities during his career. He dealt in blue dye for Haarlem’s bleacheries and was a member of the Guild of Cloth Merchants from 1658 to 1670. A document from 1657 also mentions him as being a participant in a tanning mill in Gorinchem. Furthermore, as Houbraken chronicles, Ruysdael even invented a process for creating imitation marble.[6] Such varied activities, in addition to his career as an artist, brought him considerable wealth; he owned several houses in Haarlem throughout his lifetime.
Like his father, Ruysdael was a Mennonite, and in 1669 he was listed among the members of the United Mennonite Church of Haarlem when he was living on the Kleine Houtrstraat.[7] His faith prohibited him from bearing arms, and as a result he had to pay an annual fee to be excused from his civic guard duty.
Although Ruysdael lived and worked in Haarlem throughout his life, his paintings, which depict views of various cities, including Alkmaar, Arnhem, Dordrecht, Leiden, Nijmegen, Rhenen, and Utrecht, suggest that he made several trips throughout the Netherlands. Along with Molijn, Pieter and Goyen, Jan van, Ruysdael became one of the leading landscape painters of his generation, ushering in the remarkable “tonal” landscapes that are the hallmark of early Dutch realism. He often depicted river views, in which light and atmosphere pervade the scene. His paintings of the 1640s helped lay the foundation for the “classical” period of Dutch landscape painting that followed, led by a generation of artists that included his nephew Jacob van Ruisdael, Hobbema, Meindert, and Cuyp, Aelbert. Aside from his river views and landscapes, Ruysdael also painted seascapes and still lifes. He died on November 3, 1670, and was buried in Haarlem’s Saint Bavo’s Church.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Amsterdam Harbor Scene - c. 1654/1655
Reinier Nooms, called Zeeman
Dutch, 1623 or 1624 - 1664
Reinier Nooms, an Amsterdam painter and graphic artist also known as Reinier Zeeman (which means seaman), specialized in maritime subjects. His career coincided with the heyday of Dutch commercial and maritime power in the 17th century, and Amsterdam’s bustling harbor in the IJ estuary provided Nooms with much of his artistic inspiration.
The billowing clouds, fluttering flags, and slightly choppy waters give life to this engaging view of Amsterdam’s harbor. A warship and several merchant ships are tied up inside the breakwater for maintenance and repairs. A man on a temporary platform works on the hull of the three-master to the left of center, while his colleague tends to a vat of hot tar on a floating dock. Two women have tied their skiff to the dock to do laundry in the harbor’s waters.
This painting celebrates a powerful Amsterdam family and its link to an important warship owned by the city’s Admiralty. The castle depicted on the ship’s tafferel (the painted panel on the stern) identifies it as the Huis te Swieten, which was built in 1653 and captured by the English in 1665. The warship served as the flagship of Michiel de Ruyter, one of Holland’s greatest naval heroes, on three expeditions in the 1650s.
The Huis te Swieten was named after the country estate of burgomaster Cornelis Bicker (1592–1654), a wealthy merchant and a member of the most powerful family in Amsterdam in the 1650s. Cornelis’s brother Jan Bicker (1591–1653) operated a thriving shipbuilding enterprise on a newly reclaimed island off Amsterdam’s shoreline. Bicker’s Island, as it is still known today, was one of three islands created as part of the city’s expansion of 1610. In the mid-1650s Nooms made an etching of the shipyard on Bicker’s Island featuring a small guardhouse at one of the openings in the breakwater that protected the harbor. At the far left of Amsterdam Harbor Scene we see a similar guardhouse, which, based on cartographic evidence, was situated at another opening farther out along the breakwater. The etching, which positively identifies Bicker’s Island, and contemporary maps of Amsterdam confirm that Nooms painted this scene from the northeastern shore of Bicker’s Island, looking across the IJ.
The artist signed Amsterdam Harbor Scene as "R.Zeeman" upon its completion around 1658, embedding his coined name on the flag on the warship’s main mast. Coincidentally, Nooms accompanied De Ruyter on an expedition to the Mediterranean from 1661 to 1663.
Reinier Nooms was a highly respected painter, draftsman, and internationally renowned graphic artist who specialized in maritime subjects during a period when the Dutch commercial empire spanned the globe. He was born in either 1623 or 1624, presumably in Amsterdam, to parents whose names are unknown.[1] Nooms probably received his artistic training in Amsterdam, but we do not know the name of his teacher. His earliest known work is a drawing dated 1643 made at the age of 19 or 20 that depicts the rear of Amsterdam’s Old City Hall (Hamburger Kunsthalle, Hamburg).
Nooms’s artistic speciality and the fact that he signed his paintings R. Zeeman or Reinier Zeeman (zeeman = sailor or seaman) make it virtually certain that he was both a professional sailor and an artist. Nooms drew on his intimate knowledge of ships to create images that are so accurate that settings, specific vessels, and the activities taking place in ports and aboard ships can be exactly identified. His paintings usually have a blue-gray tonality that he enlivened with a sensitive use of light and a restrained use of bright colors, including occasional touches of gold on his ships. White highlights animate his figures and activate the undulating surfaces of water. Nooms also preserved an overall clarity of form while subtly drawing the eye to a painting’s focal point.
Nooms appears to have spent time in Paris in the late 1640s or early 1650s, when he published two series of lively etchings depicting views of the French capital and its surroundings: Receuil de plusiers Nauires, et Païsages faits après le naturel par R. Zeeman 1650 and Quelque Nauires desseigner & graver par Remy Seeman Ao1652. It is possible that he learned the art of etching and printmaking in the workshop of the Flemish marine artist and engraver Matthieu van Plattenberg (also known as Plattemontaigne; 1607/1608–1660), who had settled in Paris.
After his return to Amsterdam in 1652, Nooms started a fertile collaboration as a printmaker with the publisher Cornelis Danckerts and his son, Dancker Danckerts. During the 1650s he designed a number of compelling print series that provide much information about Amsterdam, its busy harbor, Dutch waterways and the types of boats plying those waters, and views of other ports. Nooms was back in Amsterdam in time to witness the fire that destroyed the Old City Hall on July 7, 1652. He commemorated the dramatic event with a beautiful etching that he signed with the following statement: “R Zeeman Inventoor et fecit e x. | op dee ovde here graft | after dee geesondee broeder” (R Zeeman inventor and c[reator] and executor [engraver] | at the old Herengracht | behind the [house or tavern called] Gezonde Broeder).
On April 6, 1653, Nooms married Maria Jansdr Moosijn from Bruges, the sister of Michael Moosijn, an engraver with whom Nooms collaborated on two popular engravings of Maerten Harpersz Tromp, a famous admiral who died in battle in 1653. The couple had two daughters, Neeltjen (born in 1653) and Lisbet (born in 1655). Nooms’s married life seems to have been as stormy as some of the seas he depicted. A notarial record of January 6, 1656, relates statements made by his wife on December 27, 1655, that her husband had fallen in with bad company, was visiting houses of ill repute, stayed out until the wee hours of the morning, and had even begun to hit her on occasion.
Nooms probably returned to Paris in 1656 and then traveled around the Mediterranean basin, where he made a number of evocative drawings and etchings of coastal areas and ports. He also may have visited Berlin around 1657 to work for the elector of Brandenburg. From 1661 to 1663 Nooms accompanied the celebrated Dutch admiral Michiel de Ruyter on an expedition to eradicate piracy along the coast of North Africa. Upon his return from the Mediterranean, Nooms painted four large canvases for the Admiralty of Amsterdam that depict the port cities Algiers, Tunis, and Tripoli on the Barbary Coast, and Valetta on Malta (Rijksmuseum, Amsterdam). It is not certain, but very likely the Board of the Admiralty specifically recruited Nooms to accompany De Ruyter to create a visual record of the expedition.
Nooms was a prolific artist: more than 80 paintings and 177 etchings from his hand are known. His career spanned about 14 years, from around 1650 to his death in 1664. Most of his oeuvre depicts his two main artistic interests: marine subjects—including ships, naval battles, and foreign ports—and cityscapes featuring his hometown of Amsterdam and its bustling harbor in the IJ estuary. Aside from the accuracy of his renderings of ships and harbor activities, he was also attuned to the impact of variable weather patterns on the water and on sailing conditions, and he excelled at conveying a range of atmospheric qualities. His paintings and prints found eager buyers among Amsterdam’s merchant community and others who derived their living from maritime pursuits. Nooms died in Amsterdam in 1664, at age 40 or 41. When his widow remarried in 1667, her dowry included several paintings by Nooms as well as books on navigation.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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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.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza seminário destinado a discutir e avaliar a Lei Maria Penha. O evento faz parte da programação dos 16 dias de ativismo pelo fim da violência contra a mulher. Também está na pauta o resultado do 2º concurso de vídeo "1 minuto contra a violência - feminicídio, que crime é esse?"
Mesa:
representante do Consórcio Nacional de ONG’s Feministas, Leila Linhares Barsted;
representante do Observatório da Mulher contra Violência, Henrique Marques Ribeiro;
representante do Consórcio Nacional de ONG’s Feministas, Renata Teixeira Jardim;
pesquisadora sobre gênero, violência e políticas de enfrentamento à violência contra as mulheres, Wânia Pasinato.
Foto: Edilson Rodrigues/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência interativa para debater a crise hídrica na região do Vale do São Francisco, com a participação dos presidentes da ANA, Chesf, Codevasf e ONS.
Em pronunciamento, deputado Otavio Leite (PSDB-RJ).
Foto: Marcos Oliveira/Agência Senado
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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para debter sobre o Fundo Amazônia.
Em pronunciamento, senador Paulo Rocha (PT-PA).
Foto: Marcos Oliveira/Agência Senado
This is one of the permanent fortification units (referred to as DOT in Russian) that was part of the Molotov defense line in Lithuania. It was constructed during 1941-1942. Unfortunately, this line was never completed.
Located near town Raguviskiai, Kretingos distr.
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ITALY: Migrants Settle Into Permanent Struggle
BOLOGNA, Italy, Mar 13, 2011 (IPS) - The momentous political events in North Africa have been accompanied by increasingly apocalyptic warnings from the Italian government of a mass influx of unwanted immigration from Tunisia and Libya.
Ambassador Betty King, U.S. Permanent Representative to the UN in Geneva, highlights the importance of World Wetlands Day.
The Missions to the United Nations in Geneva of the United States and Botswana co-hosted an event to celebrate World Wetlands Day 2012. Ambassador Betty King of the United States, Ambassador Palai of Botswana, Nick Davidson, Deputy Director General of the Ramsar Convention on Wetlands, and Poul Engberg-Pederson, Deputy Director General of the International Union for the Conservation of Nature all participated in the event. Speaking on the importance of wetlands Ambassador King said, “World Wetlands Day gives us a unique opportunity to highlight and celebrate our diverse wetlands around the globe. Only recently have we begun to understand the important functions that wetlands perform – they are the world’s most productive environments, comparable to coral reefs and rain forests, and a vital link between water and land. With this as inspiration, the U.S. State Department chose to initiate a photo celebration to focus global attention on wetlands.”
U.S. Mission Photo by Eric Bridiers
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.
Sculpture of a medieval soldier on the inner wall of the Tower of London.
Tower Hamlets--London, UK / July 14, 2009
Comissão Mista Permanente sobre Mudanças (CMMC) realiza reunião deliberativa sobre as emendas ao PLDO 2018.
À mesa, presidente da CMMC, senador Jorge Viana (PT-AC).
Foto: Marcos Oliveira/Agência Senado
From left to right:
Pierre-Henri Guignard, Ambassador, Permanent Observer of France to the OAS
Jorge Hevia, Ambassador, Permanent Observer of Spain to the OAS
Sebastiano Fulci, Ambassador, Permanent Observer of Italy to the OAS
Date: March 13, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Kyaw Moe Tun (at microphone), Permanent Representative of the Republic of the Union of Myanmar to the United Nations, and James Kariuki, Deputy Permanent Representative of the United Kingdom to the United Nations, brief reporters at UN Headquarters.
UN Photo/Loey Felipe
30 January 2025
New York, United States of America
Photo # UN71084896
Sala de comissões do Senado durante a Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para avaliar a implantação do novo Código Florestal e a implementação do Acordo de Paris.
Mesa:
secretária executiva do Observatório do Código Florestal, Roberta Del Giudice;
presidente Substituto do Instituto Brasileiro do Meio Ambiente e dos Recursos Naturais Renováveis (Ibama), Luciano de Meneses Evaristo;
presidente da CMMC, senador Jorge Viana (PT-AC);
presidente do Serviço Florestal Brasileiro (SFB), Raimundo Deusdará Filho;
chefe Adjunto de Pesquisa e Desenvolvimento da Embrapa Informática Agropecuária, Giampaolo Queiroz Pellegrino.
Foto: Roque Sá/Agência Senado
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From left to right:
Albert R. Ramdin, OAS Assistant Secretary General
Ricardo Martinelli, President of Panama
Gillian M.S. Bristol, Chair of the OAS Permanent Council and Permanent Representative of the Grenada to the OAS
Juan Carlos Varela, First Vice President and Minister of Foreign Affairs of Panama
Date: April 29, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Sandra Terena, Secretary of Policies for the Promotion of Racial Equality in Brazil
Date: March 25, 2019
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
The Kinzie Street railroad bridge was opened in 1908. It saw its last train in 2001. Now it is permanently raised. In 2007 it was designated a Chicago Landmark.
La ministra de Educación, Flor Pablo, anunció hoy en Mollendo que se ha instalado una comisión permanente para el restablecimiento del servicio educativo en la provincia arequipeña de Islay, suspendido parcialmente desde hace más de un mes como consecuencia de la violencia generada por el conflicto en torno al proyecto minero Tía María.
A winter friendly installation of a small 'camping' satellite dish to a dwelling where no permanent installation things can be done.
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