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Jean-Auguste-Dominique Ingres - French, 1780 - 1867
Marcotte d'Argenteuil, 1810
West Building, Main Floor — Gallery 56
Shown from about the waist up, a man with pale, peachy skin, wearing a marine-blue greatcoat over several layers of clothing, looks out at us in this vertical portrait painting. The man’s body is angled to our left, and he looks at us from the corners of his dark brown, hooded eyes. He has an oval face with a slightly jutting chin, a long, straight nose, and his full-lipped mouth is lightly pursed. He is lit from our left, casting the right ear and side of his face in shadow. His chestnut-brown, wavy hair is short, and brushed forward over the ear we can see. Several shirts and coats are layered over his shoulders. Closest to his skin, a high-collared white shirt, with points reaching past his jawline, is tied with a wide, black neckcloth. Next is a custard-yellow garment, also with a high-neck, perhaps a vest. Over that he wears a brown coat with wide, pointed lapels. A bright, scarlet-red oval is fastened to one buttonhole on the lapel to our right, and a gold and rose-pink ornament peeks out from the bottom hem at his waist. Finally, the blue greatcoat has an elbow-length cape, and nearly falls off his shoulders. Fabric across the back of the collar is a hood lined with dark silver satin. He props his left elbow, to our right, on a table or ledge, and that wide cuff is rolled back over the white edge of this shirt. He wears a gold band on the pinky finger of that hand. The ledge is draped with a deep, marmalade-orange cloth. Gold tassels dangling from the end of a scrolled, bound document hangs off the edge of the ledge, near the man’s wrist. The background deepens from sage green along the lower left edge of the painting to fawn brown around the man’s head. The artist signed and dated the lower right corner, “Ingres. Pinx. Rom. 1810.”
Born in 1780 in the southern French town of Montauban, Jean-Auguste-Dominique Ingres had early instruction from his father, an artist in the town's employ. The boy showed a precocious musical and artistic talent. Aged twelve, he was enrolled at the Academy of Toulouse, under the painter Joseph Roques, a friend of Jacques-Louis David. Still uncertain of his vocation, Ingres kept up his musical interest, supporting himself by playing the violin in the theater of Toulouse. In 1797 he left for Paris to study with David who was then at work on his Battle of Romans and Sabines. Disputes at the time troubled the master's teaching studio. It contained, besides docile followers, some rough bohemians (Crassons) at war with fellow pupils of a royalist or Catholic bent (Muscadins). Keeping aloof from these factions, a handful of principled dissidents aspired to an art more pure and genuinely "antique" than David's. Steeped in early literature and archaic art, in Homer, Ossian, and the Bible, they made themselves conspicuous by wearing beards and Greek costume and were known derisively as Barbus or Primitifs. Though not himself a member of this group, Ingres sympathized with them, and in his own student work affected a severe linearity that implied a reaction against his master's more moderate classicism. David nevertheless recognized his talent and used him as his assistant in the execution of the Portrait of Madame Récamier. Admitted to the Ecole des Beaux-Arts, Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles (Ecole des Beaux-Arts, Paris). While a shortage of state funds delayed his departure for Italy, he lived in a community of young artists housed in a disused monastery. Medieval sculptures in the Musée des Petits-Augustins, the salvage of churches pillaged during the Revolution, deepened his taste for early styles. His studies at the Louvre, where Napoleon had assembled masterworks of the early Italians and Flemings, offered him further alternatives to Davidian classicism. At the Salon of 1806 his originality as an exacting stylist was manifested in the three portraits of Philibert Rivière, Mme Rivière, and Mlle Rivière (Louvre) -intricately designed, nearly shadowless figures, formed of distinct areas of color. They were ignored by the critics, but a fourth painting, of commanding size, Napoleon on the Imperial Throne (Musée de l'Armée, Paris), scandalized them by its static symmetry and hard, "Gothic" artificiality.
In 1806 Ingres finally took his place among the pensioners of the French Academy in Rome. He used the four years of his stipend to immerse himself in the work of the Renaissance masters, Raphael above all, but his eyes were also open to medieval and Byzantine art. Several masterly portraits mark the early years of his Roman stay, among them those of Mme Devauçay (1807, Musée Condé, Chantilly) and of François-Marius Granet (c. 1807, Musée Granet, Aix-en-Provence). Required to show proof of his progress, he submitted deeply calculated studies of the nude, finished off by the addition of narrative detail, Oedipus and the Sphinx and the "Valpincon Bather" in 1808 (both, Louvre) and Jupiter and Thetis in 1811 (Musée Granet, Aix-en-Provence). After his stipend expired in 1810, he prolonged his stay in Rome by making portraits of its French administrators, among them that of his future patron and lifelong friend, Marcotte d'Argenteuil (1810, National Gallery of Art, 1952.2.24). He was among the painters charged with the decoration of the Quirinale Palace, chosen as residence for Napoleon's infant son, the king of Rome. His share consisted of two large paintings, The Dream of Ossian (1813, Musée Ingres, Montauban), a luridly romantic subject ill-suited to his talent, and Romulus Victorious over Acron (1812, Louvre), executed in tempera to simulate fresco and composed as a frieze recalling works by John Flaxman (1755-1826) in its two-dimensionality. Among his Napoleonic patrons was Caroline Murat, sister of the emperor and queen of Naples, for whom he painted the Grand Odalisque (1814, Louvre), a woman of the harem reclining in a posture reminiscent of David's Madame Récamier for which Ingres had painted the accessories. The steely finish and the extravagant elongations and sinuosities of this nude troubled the reviewers of the Paris Salon, where the picture was shown in 1819. Painted for his friend Marcotte at about the same time, but in a totally different style, the National Gallery's Pope Pius VII in the Sistine Chapel (1952.2.23) presents a modern scene in minute detail and with great painterly subtlety.
In 1814 the collapse of the French government in Rome deprived Ingres of patronage and reduced him to making a meager living for himself and Madeleine Chapelle, his young bride, by drawing portraits of visiting foreigners. At this juncture, the fashion for small, genrelike paintings of historical subjects came to his aid. With his gift for minute execution, he composed scenes from the lives or legends of famous men with conscientiously researched detail. His painted anecdotes--Henry IV and the Spanish Ambassador (1817, PetitPal), The Death of Leonardo da Vinci (1818, PetitPal), and others of this kind--have the bright distinctness of manuscript illuminations. To the Salon of 1819 he submitted, besides the Odalisque of 1814, a scene from Ariosto, Roger Saving Angelica from the Dragon (Louvre), which made effective use of the contrast between the golden gleam of Roger's armor and Angelica's fleshy whiteness, highlit against the lugubrious darkness of cliff and sea. The critics were hostile, but the picture was bought by the State.
In 1817 Ingres received his first major commission from the Restoration government then in the process of refurbishing churches neglected since the Revolution. It called for an altarpiece representing Christ Delivering the Keys to Saint Peter to be installed in the French church of Santa Trinita dei Monti in Rome (1820, now Musée Ingres, Montauban) and was followed in 1820 by an even larger charge, the execution of The Vow of Louis XIII (completed 1824) for the cathedral of Montauban, Ingres' native city. Drawing heavily on motifs from Raphael and carried out with the help of many model studies, these projects occupied him for nearly a decade. Ingres, who had meanwhile moved to Florence, in 1824 accompanied The Vow of Louis XIII to Paris, where it won a resounding success at the Salon. Long accustomed to critical abuse, he now became the object of flattering attention from an art administration that, threatened by the hostility of the younger artists and the rising tide of romanticism, needed a leader strong enough to take David's place. In this emergency, Ingres seemed--despite his eccentricities--a possible defender of the traditions of great art. Awarded the Legion of Honor and elected to the academy, he was persuaded to remain in France, where he opened a teaching studio in 1825 and became David's heir as the most influential teacher of the unruly young and groomer of Rome Prize winners. He may have been unaware of the strategy that had led to his elevation and was, at any rate, ill cast in the role of academician, being of independent mind and opposed to academic routine.
Important official commissions now came his way. For a newly decorated gallery of the Louvre, he was assigned an ideologically significant subject, the Apotheosis of Homer (1827), which he conceived as an homage to classical authority and affirmation of the continuity of tradition. In two hundred drawings and more than thirty painted studies, he calculated every detail of the composition but curiously failed to consider its ultimate function as a ceiling panel. At the Salon of 1827, it appeared as the conservative counterweight to Delacroix' anarchical Death of Sardanapalus (Louvre). Both pictures failed to please: Ingres' work was considered a bore, Delacroix', the ravings of a lunatic.
The Revolution of 1830 found Ingres at his post as national guardsman, protecting, rifle in hand, the Italian masters at the Louvre. The liberal monarchy of Louis-Philippe gave him honors but little work. It named him president of the Ecole des Beaux-Arts, but the great commission that occupied him in the 1830s, the Martyrdom of Saint Symphorian (1826-1834) for Autun cathedral, had been given him by the previous regime. He labored over it for nearly ten years, only to find that, when shown at the Salon of 1834, it was dismissed by the critics as outmoded in style and subject matter. Deeply angered, Ingres declared that he would never show his work in Paris again and departed for Rome to assume the directorship of the French Academy. His output during his six-year term at the Villa Medici was relatively small, culminating in two paintings, Odalisque with Slave, an oriental fantasy (1839, Fogg Art Museum, Cambridge, Massachusetts), and Antiochus and Stratonice (1840, Musée Condé, Chantilly), painted for the duc d'Orléans, the king's eldest son. A classical subject staged with minute attention to archaeological detail, this picture was shown at the Palace of the Tuileries. Its popular success enabled Ingres to make a triumphal return to France.
Much of his energy during the following decade was spent on the project of a large mural decoration on the themes of the Age of Gold and the Age of Iron for the château of the duc de Luynes at Dampierre. Begun in 1842, Age of Gold, which Ingres planned as an image of humanity's primeval existence in a state of ideal beauty, developed into a dreamlike congestion of nudes in an Arcadian setting. Discouraged after years of effort, he left the project unfinished in 1850 but returned to its subject in 1862, in a painting of small size (Fogg Art Museum, Cambridge, Massachusetts). It was in several portraits of society wornen--Vicomtesse d'Haussonville (1845), Baroness Rothschild (1848), Madame Moitessier (1851, National Gallery of Art, 1946.7.18), Princesse de Broglie (1853), and Madame Moitessier Seated (1856)--that Ingres achieved the monumentality that had eluded him in work of wall-size dimensions.
His wife's death in 1849 cast him into a depression that prompted him to resign his professorship at the Ecole des Beaux-Arts, but his marriage in 1852, at age seventy-two, to Delphine Ramel, a relative of his friend Marcotte, revived his spirits and renewed his self-confidence. The government of Napoleon III commissioned him in 1853 to paint an Apotheosis of Napoleon I for a ceiling at the Hôte1 de Ville (destroyed in 1871) and honored him with a grand retrospective exhibition at the Universal Exposition of 1855. Like David, who in his old age had turned to erotic subjects, the aged Ingres showed a renewed interest in the female nude, causing him to revisit motifs from his own earlier work: Venus Anadyomene (1848, Musée Condé, Chantilly) completed a composition begun in 1808; La Source (1856, Louvre), a boldly frontal nude, was the reworking of a canvas begun in 1820; Turkish Bath (Louvre), finished in 1862 after changes of format and details, comprised in its crowded composition a repertoire of his earlier nudes.
Ingres was eighty-two years old when he signed this picture. In the same year he was appointed to the French Senate. He died, after a brief illness in January 1867, aged eighty-seven and still in vigorous mental and physical health. Having all his life shown a dislike of the academy and an aversion to the Salon, he was adopted by the establishment in the latter part of his career and perversely miscast in the role of archconservative. As such he has long figured in the history of art, though his work proclaims him to have been a stylist of daring individuality, whose single-minded dedication to an ideal of beauty based on difficult harmonies of line and color, on the music of relationships, and the mathematics of form, assures him a place apart. [This is the artist's biography published in the NGA Systematic Catalogue]
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
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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Martín Sannemann, Ambassador, Permanent Representative of Paraguay to the OAS
Date: June 26, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião para intalação e eleição de presidente e vice-presidente.
A comissão mista foi criada em 2019 para acompanhar movimentos migratórios nas fronteiras do Brasil e a situação dos refugiados internacionais dentro do País. O colegiado precisa ser reinstalado todos os anos. A composição é de 12 senadores e 12 deputados como membros titulares e mesmo número de suplentes, escolhidos pelo critério da proporcionalidade partidária.
Resultado:
Instalada a comissão, são eleitas presidente e vice-presidente, respectivamente, a senadora Mara Gabrilli (PSD-SP) e a deputada Carol Dartora (PT-PR), e designado relator o deputado Túlio Gadêlha (Rede-PE).
Na tela, senadora Mara Gabrilli (PSD-SP) em pronunciamento via videoconferência.
Mesa:
vice-presidente da CMMIR, deputada Carol Dartora (PT-PR).
Foto: Waldemir Barreto/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o seguinte tema: "Economia de Baixo Carbono".
Mesa:
chefe da Divisão de Fiscalização da Superintendência do Meio Ambiente do Governo do Chile, Juan Pablo Rodríguez;
diretora de Relações Institucionais e Sustentabilidade da Associação Brasileira da Indústria Química (Abiquim) e co-chair da Coalizão para Liderança em Precificação de Carbono (CPLC) do Banco Mundial, Marina Rocchi Martins Mattar;
advogado especialista em Direito Ambiental, Ludovino Lopes
Foto: Geraldo Magela/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para discutir a aplicabilidade da Lei 13.104/2015 - Lei do Feminicídio e a avaliação dos resultados das políticas públicas do Governo Federal no combate à violência doméstica.
Mesa:
pesquisadora Jackeline Aparecida Ferreira Romio;
coordenador de prevenção social da Secretaria Nacional de Segurança Pública, Rafael Raeff Rocha;
consultora técnica de vigilância e prevenção de violências e acidentes do Ministério da Saúde, Cheila Marina de Lima;
presidente da CMCVM, deputada Elcione Barbalho (PMDB-PA);
representante do Fórum Brasileiro de Segurança Pública, Roberta Astolfi;
relatora da CMCVM, deputada Luizianne Lins (PT-CE).
Foto: Jefferson Rudy/Agência Senado
From left to right:
Luís Alvarado, Minister Counselor, Alternate Representative of Nicaragua to the OAS
Pablo Monroy, Alternate Representative of Mexico to the OAS
Leonidas Rosa Bautista, Ambassador, Permanent Representative of Honduras to the OAS
Date: March 7, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Madrid es la capital de España1 y de la Comunidad de Madrid, comunidad autónoma uniprovincial. También conocida como la Villa y Corte, es la ciudad más grande y poblada del país, alcanzando oficialmente y según el padrón de habitantes a 1 de enero de 2011 los 3.293.601 habitantes en su municipio,2 y la corrección a final de año del ayuntamiento, cifra oficiosa hasta ser aprobada en el congreso a finales de ese año es de 3.294.110,3 mientras que la cifra de población incluida su área metropolitana asciende a 6.543.031 habitantes según AUDES,4 y una área urbana que engloba unos 7,1 millones de habitantes [8] siendo por ello la tercera ciudad más poblada de la Unión Europea —por detrás de Berlín y Londres— y la tercera área metropolitana, por detrás de las de París y Londres.5 6 7 8
Como capital del Estado, Madrid alberga las sedes del gobierno, Cortes Generales, ministerios, instituciones y organismos asociados, así como la residencia oficial de los Reyes de España.9 En el plano económico, Madrid es la cuarta ciudad más rica de Europa, tras Londres, París y Moscú.10 Actualmente, el 50,1% de los ingresos de las 5.000 principales empresas españolas son generados por sociedades con sede social en Madrid, las cuales representan el 31,8% de ellas.11 Es sede del 3er mayor mercado de valores de Europa,12 del 2º de ámbito latinoamericano (Latibex) y de varias de las más grandes corporaciones del mundo.13 14 Es la 8ª ciudad del mundo con mayor presencia de multinacionales, tras Pekín y por delante de Dubái, París y Nueva York.15 16
En el plano internacional, acoge la sede central de la Organización Mundial del Turismo (OMT), perteneciente a la Organización de las Naciones Unidas (ONU), la sede de la Secretaría General Iberoamericana (SEGIB), y la sede de la Organización de Estados Iberoamericanos para la Educación, la Ciencia y la Cultura (OEI). También alberga las principales instituciones internacionales reguladores y difusoras del idioma español: la Comisión Permanente de la Asociación de Academias de la Lengua Española,17 y sedes centrales de la Real Academia Española (RAE), del Instituto Cervantes y de la Fundación del Español Urgente (Fundéu). Madrid organiza ferias como FITUR, Madrid Fusión, ARCO, SIMO TCI, el Salón del Automóvil y la Cibeles Madrid Fashion Week.
Es un influyente centro cultural y cuenta con museos de referencia internacional, entre los que destacan el Museo del Prado, el Museo Nacional Centro de Arte Reina Sofía, CaixaForum Madrid y el Thyssen-Bornemisza, que ocupan, respectivamente, el 11º, 15º, 24º y 48º puesto entre los museos más visitados del mundo.18
Es, según la revista británica Monocle, la 10ª ciudad del mundo con mayor calidad de vida
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para tratar sobre o feminicídio e violência contra mulher, razões e causas do seu incremento.
Foto: Waldemir Barreto/Agência Senado
Andrés González Díaz, Ambassador, Permanent Representative of Colombia to the OAS
Date: February 11, 2015
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher: Deliberação sobre as emendas da comissão ao PLN 7/2015-CN - Orçamento 2016.
Mesa E/D:
senadora Lúcia Vânia (PSB-GO);
presidente da comissão, senadora Simone Tebet (PMDB-MS);
vice -presidente da comissão, deputada Keiko Ota (PSB – SP).
Foto: Jefferson Rudy/Agência Senado.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza lançamento da publicação do seminário "12 Anos da Lei Maria da Penha", realizado em dezembro de 2018.
À mesa, em pronunciamento, advogada e fundadora do Centro Feminista de Estudos e Assessoria (Cfemea), Iáris Ramalho Cortês.
Foto: Waldemir Barreto/Agência Senado
a ver... como me explico... fui a la cocina, me demore 5 minutos creo... cuando volvi todo estaba muy callado y sale sofi de la alcoba de nosotros diciendo algo asi... "papi.. mira como mami..." ohhh, Sofi, muestrame como te hiciste eso... voy a la alcoba y veo mis marcadores permanentes sin tapa y ella mostrandome que se estaba "maquillando"...
Si... PERMANENTES... quedo con ese hermoso maquillaje como por 4 dias...
H.E. Mr Henk Cor van der Kwast, Permanent Representative of the Netherlands to the OPCW, and Ambassador Fernando Arias, OPCW Director-General, formalise The Netherlands’ voluntary contribution to support the OPCW's assistance activities.
History of today's house
The dilapidatedness, permanent fire danger as well as lack of hygiene, despite various structural adaptations (especially in the light of the Ringtheaterbrandes (The Ringtheater fire occurred on December 8th, 1881, in the popular Viennese Ringtheater, named after the road it was located at, the Schottenring)), forced the demolition of Kornhäusel theater, able to accomodate 1200 people as well as a new building in the same place. In 1898, the initiative of the town community had proceeded to make a last major adaptation of the Court theater. Since the Land of Lower Austria was reluctant to agree to the restoration of the come down old building, the town community had decided to progress to a new building in the near future, and underlined the seriousness of its willingness with the appointment of a prominently-judged architectural competition. - None of the three award-winning submissions were ever realized. General reparation, which was to amount to 15,000 guilders, was approved, and only ten years later, on July 9, 1908, the municipal council made the decision for a new building.
Thus the present building (to a third of the construction costs supported by amusement club, Badener Sparkasse and Badenerbrunnenverein - spring association) was solemnly opened in the presence of Erzherzog Rainer on the 2nd October 1909 according to the plans of the freehanded commissioned office Fellner & Helmer. The originally designated name of the venue was Kaiser-Franz-Joseph-Jubiläums-Stadttheater. Since the Viennese Court did not complete the request, it was shortened to Anniversary Theater.
The art-nouveau-style hall on the ground floor and two ranks, contained a total of 816 seats. At the opening of the house was Beethoven's The Consecration of the House, composed in Baden, the enfeoffment scene from King Ottokar's Happiness and the End of Grillparzer (König Ottokars Glück und Ende: "König Ottokars Glück und Ende" is a tragedy in five acts written by Franz Grillparzer in 1823. Based on the historical events surrounding the life of Ottokar II of Bohemia, the play deals with the fall of the king from the height of his powers to his death, having lost most of his supporters and lands, largely through his own actions), and the Fledermaus (The Bat) of Johann Strauss, in 1894 elevated to the status of opera, which, according to text clues, takes places in Baden. This tradition program is still held for festive occasions.
During the Second World War the theater was almost always played as a Gau stage. It was not until the 31st of August, 1944, when the Führer decreed the total military service (July 25, 1944) that it was closed, with The Land of Smiles as a farewell performance. Immediately after the end of the war, it was re-operated by a working group of artists, the occupation of the city of Baden by the Red Army, whose headquarters was in Baden, making this operation more difficult.
In 1973 the Theater square was redesigned as part of the expansion of the pedestrian zone.
To this day, the theater has already undergone complete exteriors and interior renovations, especially on the occasion of the 500th anniversary of the city of Baden in 1977 and 1978. The auditorium too was again given its original appearance.
In the anniversary year 2009 some extensions like a new sound system, a new rehearsal room for the choir and other restorations were made.
Geschichte des heutigen Hauses
Die Baufälligkeit, permanente Brandgefahr sowie fehlende Hygiene erzwangen, trotz diverser (vor allem im Lichte des Ringtheaterbrandes angezeigter) baulicher Adaptionen, den Abbruch des 1200 Personen fassenden Kornhäusel-Theaters sowie einen Neubau an selber Stelle. Dem war 1898 die Initiative der Stadtgemeinde vorausgegangen, eine letzte große Adaptierung des Hoftheaters vorzunehmen. Da das Land Niederösterreich einer Sanierung des heruntergekommenen Altbaues ungern zustimmen würde, wies die Stadtgemeinde auf ihre Absicht hin, in nächster Zeit an einen Neubau zu schreiten, und untermauerte die Ernsthaftigkeit ihres Wollens mit der Auslobung eines prominent jurierten Architektenwettbewerbs. – Keine der drei prämierten Einreichungen wurde je verwirklicht. Die Generalreparatur, die sich letztlich auf 15.000 Gulden belaufen sollte, wurde genehmigt, und erst zehn Jahre später, am 9. Juli 1908, fasste die Gemeindevertretung den Beschluss für einen Neubau.
So wurde das heutige Gebäude (zu einem Drittel der Baukosten unterstützt von Vergnügungsverein, Badener Sparkasse sowie Badener Trabrennverein) gemäß den Plänen des freihändig beauftragten Büros Fellner & Helmer nach nur zehnmonatiger Bauzeit am 2. Oktober 1909 im Beisein von Erzherzog Rainer feierlich eröffnet. Die ursprünglich vorgesehene Bezeichnung der Spielstätte lautete Kaiser-Franz-Joseph-Jubiläums-Stadttheater. Da der Wiener Hof das entsprechende Ansuchen nicht erledigte, wurde auf Jubiläums-Stadttheater verkürzt.
Der im Jugendstil gehaltene Saal umfasste im Parterre und den zwei Rängen insgesamt 816 Plätze. Zur Eröffnung des Hauses wurde Beethovens Die Weihe des Hauses, das in Baden komponiert wurde, die Belehnungsszene aus König Ottokars Glück und Ende von Grillparzer sowie die 1894 zur Oper erhobene Fledermaus von Johann Strauß, die, nach Textindizien, in Baden handelt, gespielt. Dieses Traditionsprogramm hält sich für festliche Anlässe bis heute.
Während des Zweiten Weltkrieges wurde das Theater als Gaubühne Niederdonau fast ständig bespielt. Erst mit 31. August 1944 wurde es durch den Erlaß des Führers über den totalen Kriegseinsatz (25. Juli 1944) geschlossen – mit Das Land des Lächelns als Abschiedsvorstellung. Gleich nach Kriegsende wurde es durch eine Arbeitsgemeinschaft von Künstlern wieder betrieben, wobei die Besetzung der Stadt Baden durch die Rote Armee, dessen Oberkommando in Baden residierte, diesen Betrieb erschwerte.
Im Jahr 1973 wurde der Theaterplatz im Rahmen des Ausbaues der Fußgängerzone umgestaltet.
Bis heute erfuhr das Theater schon mehrmals komplette Außen- und Innenrenovierungen, besonders auch anlässlich der 500-Jahr-Feier der Stadt Baden 1977 und 1978. Auch der Zuschauerraum erhielt wieder sein ursprüngliches Aussehen.
Im Jubiläumsjahr 2009 wurden einige Erweiterungen wie einer neuen Tonanlage, ein neuer Probenraum für den Chor und anderen Restaurierungen vorgenommen.
Ecuador, 02 de Octubre del 2024.- Asambleísta Rosa Belén Mayorga, presenta el proyecto de Reforma a la Ley Orgánica de la Función Legislativa, para la Conformación de la Comisión Permanente de Derechos de las Mujeres y Género.
Foto David Vela / Asamblea Nacional
Ginebra, Suiza, 28 de febrero del 2012.- Margarita Zavala en el saludo al personal de la Misión Permanente de México ante los Organismos Internacionales y de la Representación de México ante la Organización Mundial de Comercio.
Permanent Makeup rocking New World Brewery, Ybor City, Tampa, FL - December 25, 2014.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
From left to right:
Victor Madrigal, Inter-American Commission on Human Rights
Hugo de Zela, Chief of Staff of the OAS Secretary General
José Miguel Insulza, OAS Secretary General
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Date: March 13, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião para análise de requerimentos.
A comissão mista foi criada em 2019 para acompanhar movimentos migratórios nas fronteiras do Brasil e a situação dos refugiados internacionais dentro do País. O colegiado precisa ser reinstalado todos os anos. A composição é de 12 senadores e 12 deputados como membros titulares e mesmo número de suplentes, escolhidos pelo critério da proporcionalidade partidária.
Mesa:
presidente da CMMIR, senadora Mara Gabrilli (PSD-SP);
relator da CMMIR, deputado Túlio Gadêlha (Rede-PE).
Foto: Roque de Sá/Agência Senado
Fotografía: Ángel Cantero / Del jueves 5 al domingo 8 de diciembre de 2013, Diáconos permanentes de toda España, junto con sus esposas, han participado en el XXVIII Encuentro Nacional del Diaconado Permanentede que se ha celebrado en el Centro Diocesano de Espiritualidad de Valladolid. Han sido días de trabajo y reflexión sobre el lema "Llamados a servir", para que sean verdaderos servidores humildes de la Iglesia y reprersentación sacramental de Cristo Siervo entre nosotros.
Check out my set "Most Interesting 500" here!
Visit my Waldorfschool/Steinerschool related pinboards here!
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) promove Audiência pública interativa apresenta relatório sobre a população penitenciária feminina e debate violência contra as mulheres presas. Logo após, apresentação do relatório de avaliação de políticas públicas e apreciação de requerimentos.
Mesa:
representante do DEPEN-MJ, Thandara Santos;
presidente da CMCVM, senadora Vanessa Grazziotin (PCdoB-AM);
vice-presidente da CMCVM, deputada Keiko Ota.
Foto: Marcos Oliveira/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM). Instalação e eleição de presidente e vice. Logo depois, apresentação das atividades em 2015 e 2016.
Participam:
vice-presidente da CMCVM, senadora Rose de Freitas (PMDB-ES);
procuradora da mulher na Câmara dos Deputados, deputada Elcione Barbalho (PMDB-PA).
Foto: Pillar Pedreira/Agência Senado
Jeannette Rosas, Corporación Alegría (Colombia)
Date: March 07, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o acompanhamento da crise hídrica na Região do Vale do São Francisco e no reservatório da barragem de Sobradinho.
Em pronunciamento, diretor da área de irrigação da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Napoleão Casado.
Mesa:
presidente do Conselho de Administração do Distrito de Irrigação Nilo Coelho (Dinc), Amauri José Bezerra da Silva;
diretor-presidente da Agência Nacional de Águas (ANA), Vicente Andreu Guillo;
presidente eventual, senador Fernando Bezerra Coelho (sem partido-PE);
presidente da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Antônio Avelino Rocha de Neiva;
diretor de Operação da Companhia Hidro Elétrica do São Francisco (Chesf), João Henrique de Araujo Franklin Neto;
assistente da Diretoria Geral do Operador Nacional do Sistema Elétrico (ONS), Fernando José Carvalho de França
Foto: Jefferson Rudy/Agência Senado
Rubén Mendoza, violín, Rodrigo Moro, contrabajo, Alejandro Regueira, viola, y Pau Codina, violonchelo
Ceremonia de entrega de Premios del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que se celebró entre el 23 y el 25 de marzo´12 en la ciudad de Ávila, organizado por Juventudes Musicales de España y la asociación de Juventudes Musicales de Ávila.
La fase eliminatoria tuvo lugar en el Auditorio del Conservatorio de Música de Ávila y la fase final y entrega de premios en la Sala de Cámara del Centro de Congresos y Exposiciones LIENZO NORTE de Ávila.
One of my favorite gifts, I received this from a friend after complaining that I was having trouble thinking. I told her, "It's like the connections in my brain are broken". A week later she showed up with this.
It says:
Front:
Broken Connections
Permanent Brain Glue
Safe, Non-Toxic
Back:
Uses: Bonds to any and all brain neurons to realign to proper functioning ability.
Application: Apply to clean, dry scalp. Spread thinly and allow 30 minutes for product to seep through the hair follicle and into the brain. Shake head gently to move neurons to desired alignment and functioning ability. Once aligned, keep head as still as possible to allow product to set. After 30 minutes you may wash excess product out of hair with shampoo.
Caution: Be sure to align neurons to desired location within 1 hour of applying. Once set, product will be permanent and any resulting brain function cannot be corrected. Broken Connections is not liable for brain damage due to misuse of product or incorrect alignment.
_______________________________
Admit it, you're all jealous aren't you? Ask nicely and maybe I'll share some of mine with you. ;-)