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Sergiy Kyslytsya (at podium), Permanent Representative of Ukraine to the United Nations, briefs reporters ahead of the Security Council meeting on maintenance of peace and security of Ukraine.
UN Photo/Manuel Elías
15 March 2024
New York, United States of America
Photo # UN71030025
Riyad Insanally, Ambassador, Permanent Representative of Guyana to the OAS
Date: August 22, 2018
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
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.
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
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. ;-)
From left to right:
Jean Michel Arrighi, Secretary for Legal Affairs of the Organization of American States
Hugo de Zela, Chief of Staff of the OAS Secretary General
José Miguel Insulza, OAS Secretary General
Leonidas Rosa Bautista, Chair of the OAS Permanent Council and Permanent Representative of Honduras to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Date: June 22, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Ah the joys balancing the realisation you are using a permanent marker against trying to get the last word in.
Paul Cezanne - French, 1839 - 1906
Louis Guillaume, 1879-1890
West Building, Main Floor — Gallery 84
Shown from the chest up, a young boy wearing an aquamarine-blue jacket sits facing us in this vertical portrait painting. His body is slightly angled to our right and he looks just over our right shoulder. He has close-cropped, dark hair. His features and clothing are painted in patchworks of colors. For example, his pale face is painted with swipes of peach, straw yellow, stone blue, and olive green, especially around his large, dark eyes and small, cherry-red mouth. The scarf knotted around his neck is painted with daubs of light and azure blue, teal, putty gray, and white. His voluminous jacket has touches of red, blue, and lighter shades of green. He sits in a corner with walls washed with shades of aqua and turquoise. The rail of a brown chair curves behind his right shoulder, on our left, and is cut off by the left edge of the canvas. A cluster of darker green, leaf-like shapes suggest a design on the wall to our right.
aul Cezanne was born in Aix-en-Provence on January 19, 1839, the first child of a prosperous hatter, Louis-Auguste Cezanne, who later became a banker. Paul, as the only son, had his career path chosen for him by his father, who decided that the young man should become a lawyer and prepare to manage the nascent family fortune. By 1857, however, Cezanne had begun to take classes at the Free Drawing School attached to the Musée d'Aix (now the Musée Granet). Yielding to paternal pressure, he registered at the Aix law school the following year, but he had already settled on a life as an artist.
In 1861 Cezanne abandoned his legal studies and made his first visit to Paris, encouraged by his boyhood friend, the novelist Émile Zola. Paris was the center of the art world, an essential destination for any up-and-coming artist, and Cezanne made repeated trips to the capital over the next dozen years, absorbing much that proved foundational to his subsequent artistic accomplishments. He frequented the Salon, studied the old masters and copied Delacroix at the Louvre, and forged friendships with many important artists, including Edouard Manet, James McNeill Whistler, Edgar Degas, Auguste Renoir, and Henri Fantin-Latour. But it was Camille Pissarro who became a pivotal, lifelong influence on Cezanne after the two met in the early 1860s at the Académie Suisse in Paris.
By the mid-1860s Cezanne had established himself as a painter, though with minimal official success: he was denied entry into the École des Beaux-Arts and systematically excluded from the Salon exhibitions. This rejection resulted from his comparatively radical painting style, characterized by muscular swaths of paste-like paint applied with the palette knife, a technique that he had inherited from the realist master Gustave Courbet. His rough-hewn manner matched his adoption of a provincial persona, a calculated strategy-also patterned after Courbet-to gain notoriety in the cosmopolitan capital. This first phase of Cezanne's career, heavy with dour portraits and emotionally charged scenes of rape and murder, paralleled anxiety in his personal life: discomfited in the capital, Cezanne shuttled back and forth between Aix and Paris seeking a more definitive artistic voice. In Aix the Jas de Bouffan, a large working farm on the outskirts of the city that had been purchased by Louis-Auguste in 1859 to serve as the family estate, figured as a central locale for the artist's searching experimentation of these early years and beyond.
In 1869 Cezanne met Émilie Hortense Ficquet, the woman who would eventually become his wife (1886) and bear his only child, also named Paul, in 1872. It was at the instigation of Pissarro that Cezanne arrived in Auvers in 1872, along with Hortense and their infant son, and began what is often dubbed his "impressionist" phase. Under the influence of the Barbizon painters Camille Corot, Charles-François Daubigny, and Théodore Rousseau, Cezanne had depicted landscape in his previous work. But it was through his close working relationship with Pissarro that Cezanne developed both his enduring interest in plein-air (outdoor) painting and a manner similar to that of the impressionists. Cezanne now placed more emphasis on the close observation of nature and on the rendering of light and atmospheric effects, producing works with a lighter palette and freer brushwork that he exhibited in Paris at the impressionist exhibitions of 1874 and 1877. It was also during the 1870s, and up to 1885, that Cezanne began to paint in L'Estaque, a site that has rightly been seen as engendering Cezanne's maturation as an artist. It was there, during the mid-1880s, that he painted his great views of the Gulf of Marseille, though he had more prosaic reasons for making this seaside village his base when returning to Provence: L'Estaque had enabled him to avoid the draft (1870-1871), and continued to function as a refuge from paternal interference.
From the mid-1880s until Cezanne's first solo exhibition, organized in Paris in 1895 by his dealer Ambroise Vollard, the artist's personal life and artistic production underwent considerable change. In April 1886 Zola published The Masterpiece (L'Oeuvre), a novel whose unflattering portrayal of a failed artist, based on Cezanne himself, precipitated the end of their longstanding friendship. Later that same month Cezanne married Hortense Ficquet, and in October his father died. Around 1890 Cezanne began to suffer from diabetes. Meanwhile, he had by this time entered into his full artistic maturity, adopting a characteristic style in which paint was applied in regular, hatched strokes-his so-called "constructive stroke." For Cezanne this way of working grew out of his intent to produce paintings that captured solid form rather than the fugitive effects rendered by the impressionists. He depicted the gamut of subjects in all media: landscapes around Pontoise and especially Provence, notably his first images of the Montagne Sainte-Victoire, as well as still-lifes, portraits, and self-portraits. Among his most iconic works are his paintings of cardplayers, executed in the early 1890s, and of the Bibémus quarry and Château Noir, dated to the mid-1890s. Cezanne had also begun to garner critical attention during this period from the likes of Paul Alexis (1886-1887), Joris-Karl Huysmans (1888), Émile Bernard (1891), George Lecomte (1892), and others.
Among the significant events marking Cezanne's last decade was the death of his mother in 1897, which led to the sale of the Jas de Bouffan in 1899. While robbed of one site, Cezanne created another in 1902 when he had a studio built in the outlying hills of Les Lauves. It is from near his studio that Cezanne began his systematic portrayals of what is recognized today as his signature motif: Montagne Sainte-Victoire, the dominant landform due east of Aix. It is these paintings, arguably more than any other, that display what was perhaps Cezanne's signal aesthetic tenet: the structuring power of color. His last great achievement was his serial paintings of bathers, a theme he treated throughout his life, culminating in three oversize canvases executed at this time. The latter recast both longstanding notions regarding the nude and the relation of figure to landscape.
Cezanne died at 7:00 a.m. on October 23, 1906, at his home, 23 rue Boulegon in Aix.
(Biography was written by Benedict Leca, Mellon Curatorial Fellow, department of European and French paintings, National Gallery of Art, Washington.)
________________________________
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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Permanent survey marks are fundamental marks that define location for surveying, mapping and engineering projects. Uses include housing developments, new road and bridge construction, improving railways and environmental mapping.
There are approximately 135,000 permanent survey marks (PM) and 40,000 primary cadastral marks (PCM) (at July 2010) in Victoria.
François Boucher - French, 1703 - 1770
The Love Letter, 1750
West Building, Main Floor — Gallery 55
Two pale-skinned women sit together surrounded by five sheep and a dog in a lush forest in this vertical painting. The woman to our right sits slightly above the other, with her arm draped around the shoulders of her companion. The woman to our right wears a low-cut, rose-pink dress with a full skirt and voluminous, gossamer sleeves. Blond curls are pulled back behind a headband, which is adorned over one ear with three large, pink flowers and smaller yellow and blue flowers. She tips her head to our right as she gazes down to her left at her friend. She has blue eyes, flushed cheeks, a delicate nose, and her grapefruit-pink lips curl in a gentle smile. She crosses one knee over the other and leans toward the other woman. Tucked into her side, the second woman looks up at the first in profile facing our right. Her low-cut, lavender-purple dress has a gold shimmer that suggests silk. Her ash-brown curls are pulled back and decorated with small sea-blue flowers. One toe peeks out from her long skirt, and both women are barefoot. The woman in purple holds a white dove on her friend’s lap, and the woman in pink holds a small envelope closed with a shell-pink seal next to the bird. The dove’s wings are slightly outspread, and a blue ribbon is tied around its neck. Just behind the pair, a towering tree with a silvery-gray trunk grows up and off the top edge of the painting. It angles to our left, and green branches hang down into the picture. To our right of the tree, a rectangular sand-brown stone structure is topped with a male lion carved from the same stone, near the upper right corner. The ground beneath the women is covered with moss-green growth and the space around them filled with verdant bushes and plants. A single, cream-colored sheep stands to our right, facing the women, next to a basket of flowers near the lower right corner. Four more sheep stand and lie together beyond the women to our left, while a black-bodied hound with a white muzzle sits watching the women. A pile of broken branches, perhaps forming a fence, lies behind the sheep. Grassy hills and trees become hazy in the distance beyond, and the sky above is slate blue with a few white and pale pink clouds. The upper and lower right corners and the lower left corner are deep in shade. The artist signed and dated the painting as if he had inscribed the stone in the shadow just below the lion, “f. Boucher 1750.”
The Love Letter — also referred to as The Two Confidantes, The Messenger, The Lovers’ Secret Mail, and, less convincingly, The Beloved Sheep — typifies the pastoral idiom François Boucher had already made his own by the late 1740s. In a lush and verdant garden or wooded countryside, two young women recline at the base of a stone pillar surmounted by a carved lion.[1] One ties an envelope around the neck of a pigeon with a blue ribbon while looking with admiration at her companion. The sheep that lounge about and the dog standing sentry tell us that these are shepherdesses, but like many such characters of Boucher’s they pay little attention to their responsibilities, preferring to idle the day away gathering flowers in a straw basket and sending missives via carrier pigeon. Boucher never concerned himself with the verities of country life, but employed the shepherdess type as an idealized and voluptuous protagonist for his decorative pictures. In this example he lavished his brush on the women’s satin dresses, their powdery skin, and the casual perfection of their hair. Despite their affectations, they are wholly at ease in their accommodating setting.
The Love Letter originally formed a pair with The Interrupted Sleep, in the Metropolitan Museum of Art, New York [FIG. 1], another pastoral subject that matches the Washington painting in size, composition, and amorous theme.[2] In The Interrupted Sleep a young shepherdess has dozed off and is about to be awakened by a young swain, who sneaks up from behind and tickles her face with a bit of straw.[3] Once again the setting is rich and fertile, enlivened by sheep and a dog; views into the distance balance the compositions. The palette in The Interrupted Sleep is somewhat more somber — one could say more rustic — than that of The Love Letter, particularly in the clothing, tending to pale ochers and brownish reds in the former and bluish purples and pale pinks in the latter. The artist’s exquisite brushwork unites the pair, particularly the delicate glazes that enrich the treatment of the draperies or articulate the petals of the flowers. In each painting Boucher uses a subtle orchestration of the lights and darks to enhance the visual experience, resulting in such lovely passages as the shadow that falls across the face of the woman in The Interrupted Sleep or the soft illumination of the woman’s ankles and toes in The Love Letter.
The two paintings, both signed and dated 1750, were not original compositions but were adapted by Boucher from a monumental tapestry cartoon that he had painted in 1748, probably with the help of studio assistants.[4] The tapestry, called The Fountain of Love, was first woven in 1755 at Beauvais as part of the series Le Noble Pastorale [FIG. 2].[5] One of Boucher’s grandest designs, it weaves together a series of intimate tête-à-têtes played out in a luxuriant landscape. The figures from The Love Letter and The Interrupted Sleep are visible, in reverse, on the right side of the composition, at the foot of a magnificent fountain topped by playful cupids. The picturesque mill at Charenton, which Boucher painted on numerous occasions, is prominent in the left background.
Although they were taken from an earlier project, The Love Letter and its pendant are wholly autograph. They were produced for no less prestigious a client than Jeanne Antoinette Poisson, marquise de Pompadour (1721 – 1764), Louis XV’s maîtresse en titre, undoubtedly the reason Boucher took special care in painting them. The royal provenance is confirmed by the inscription on Jean Ouvrier’s (1725 – 1754) engraving of 1761 after The Love Letter, The Two Confidentes [FIG. 3].[6] When the two paintings were exhibited at the Salon of 1753, they were described as overdoors for Pompadour’s residence at Bellevue outside Paris.[7] They are no doubt identical to the works described in situ by Antoine Nicolas Dezallier d’Argenville (1723 – 1796) in his Voyage pittoresque des environs de Paris, published in 1755: “The little room that follows the bedroom of Her Majesty is entirely paneled. The moldings are carved with garlands of flowers, which have been naturalistically painted; and in the middle of the panels are cartouches where we see various childhood activities. There are two pastorals, by M. Boucher, over the doors.”[8]
Although d’Argenville’s account of the paintings is vague (even if he took care to relate the details of the room’s decoration), we can be confident that they are the canvases now in Washington and New York based on descriptions made when they were exhibited in Paris and on measurements recorded later.[9] As their dates indicate, the pictures were produced in 1750, but their inclusion at the Salon of 1753 presupposes that they were not installed at Bellevue until sometime after the exhibition closed. While the château was dedicated in November 1750, work on the interior continued until 1754.[10] Examination of the surfaces of the canvases suggests that the compositions were framed as ovals in boiseries.[11] In any event, the paintings did not remain for long in the paneling of Bellevue. They very likely were removed around 1757, when the château was ceded to the king’s daughters and much of its contents were emptied.[12] They are next recorded in 1764 in the vestibule on the ground floor of the Hôtel d’Évreux (now the Palais de l’Élysée), Pompadour’s Parisian residence. An inventory of the marquise’s effects drawn up in 1764 following her death described them in that location, along with other paintings from Bellevue.[13] Eighteen years later they resurfaced in the sale of the marquis de Ménars et de Marigny (1727 – 1781), Pompadour’s brother, who had inherited the bulk of her estate. The National Gallery of Art’s painting is described in sufficient detail that we can be certain of the identification: “Two young women are seated on the grass, attaching a letter to the neck of a dove. They are surrounded by a number of sheep and a dog in front of a pleasing and picturesque landscape.”[14]
Pompadour’s enthusiasm for Boucher is well established, and Bellevue was the setting for several of his most impressive productions.[15] Besides the overdoors described here, Boucher painted two scintillating pictures of Venus for the appartement des bains, The Toilet of Venus (New York, Metropolitan Museum of Art) and The Bath of Venus;[16] what is probably the artist’s most celebrated religious picture, the so-called Lumière du monde (Lyon, Musée des Beaux-Arts), for the chapel;[17] and the pendant masterpieces The Rising of the Sun and The Setting of the Sun (London, Wallace Collection), woven at Beauvais.[18] Thus in the mid-1750s visitors to Bellevue could enjoy an extraordinary survey of Boucher’s art in several genres, including mythologies, a devotional painting, and the category most closely identified with his hand, the pastoral.
The latter genre was perhaps most amenable to the function of Bellevue, with its striking site overlooking the Seine and its luxuriant and intimate gardens.[19] According to Pompadour, “It’s a delightful site for the view, and the house, while not very large, is accommodating and charming, and not without a sort of magnificence.”[20] The château, the only residence built for the marquise from the ground up, had been designed as a retreat for her and the king, although soon after its completion, their relationship had changed from carnal to platonic.[21] At Bellevue in 1751 Madame de Pompadour played the role of the male lead, Colin, in a production of Jean François Marmontel’s (1723 – 1799) pastoral operetta Le Devin du village.[22] The influence of the literary pastoral was not lost on commentators who admired The Love Letter and The Interrupted Sleep at the Salon of 1753. The abbé Leblanc noted that Boucher had virtually invented the pastoral subject in painting, just as Fontenelle had brought new life to pastoral imagery in literature: “The Eclogues of M. de Fontenelle have enriched our pastorals with a new kind of shepherd, notable for the gallantry and delicacy of their sentiments. Those that M. Boucher has introduced into painting join all the merits of the former with a precious simplicity and naiveté that are not always those of M. de Fontenelle.”[23]
In the 1740s and 1750s Boucher was one of the most prolific painters of pastoral decorations, and his overdoor panels were often treated in pairs or series intended to represent allegories such as the Times of Day or the Four Seasons.[24] The Washington and New York canvases represent an innovative solution to relating decorative paintings, for here Boucher sought to create a narrative link between them, fanciful though it may be, centered on the developing love of a shepherd and a shepherdess. As the Goncourts observed, “Rustic life at [Boucher’s] touch became an ingenious romance of nature.”[25] In The Interrupted Sleep the youth teases the object of his affections as he tries to win her over; in The Love Letter we see the later stage of a relationship, where a young woman confides in her friend, who encourages her to send what is undoubtedly a love letter. This “narrative,” such as it is, is understated, for we cannot even be sure if we are meant to believe it is the same shepherdess in each painting; her clothes have changed and she is accompanied by a different dog. Boucher continued this strategy in later works, such as the pastoral paintings made for Madame Geoffrin and exhibited at the Salon of 1765.[26] By then, however, he had tired the patience of his critics, who grew increasingly frustrated with his candy-box representations of a dreamlike peasant life.[27] When he painted the present canvases in 1750, however, Boucher still could be credited with offering something new, even if the subject of the pastoral could be traced to artists of an earlier generation, such as Nicolas Lancret and Antoine Watteau.[28] In its review of the 1753 Salon, for example, the Mercure de France noted that “M. Boucher has continued to delight us by the grace and charm of his compositions . . . in the overdoors made for Bellevûe.”[29] Others expressed similar sentiments: “His two pieces characterize best the author’s lively and cheerful imagination, filled throughout with wit and charm. He has created a genre that is suitable to himself, and we are obliged to admit that he has succeeded admirably at it.”[30]
Boucher’s two compositions must have been popular, for numerous copies are recorded, and the composition of The Love Letter inspired a host of lesser artists and decorators, appearing as an oval tapestry, as decoration on snuffboxes, and in gouaches by Boucher’s son-in-law Pierre Antoine Baudouin (1723 – 1769).[31] Boucher himself — or, more likely, his studio assistants — painted a more upright version, en camaieu rose, supposedly for Madame de Pompadour’s apartments at Versailles [FIG. 4].[32] In a more profound way, these small pictures sparked the imagination of Boucher’s greatest pupil, Jean Honoré Fragonard (French, 1732 - 1806), who employed the older artist’s strategy in a far more ambitious project, painted for Pompadour’s successor as royal mistress, Madame du Barry (1743 – 1793): the celebrated Progress of Love cycle (New York, Frick Collection), in which again a series of amorous episodes link a group of decorative pictures.[33]
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 12–18.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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From left to right:
María del Luján Flores, Ambassador, Permanent Representative of Uruguay to the OAS
Jorge Skinner-Klee, Chair of the OAS Permanent Council and Permanent Representative of the Guatemala to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
www.twitter.com/Memoire2cite #recherche #archives #Banlieue #socialhousing #logement #Collectif #Grands-Ensembles #city #Cité #Moderne #Zup #Habitat #HLM #Copropriété #Quartier #Béton #immeuble #Cités #Résidençe #Barre #Grand-Ensemble #Batiment #Tower #Bloc #Europe #Old #Building #CartePostale #VintagePostcards #RetroModernism #World #Mémoire2Cité #Postcards #Mémoire2Ville #30Glorieuses @ l' #Urbanisme d'Antan d'#Avant d' #Autrefois le #Logement #Collectif * 50,60,70's dans tous ses états.. #Histoire & #Mémoire de l' #Habitat / #Rétro - #Villes / #H.L.M. / #Banlieue / #Renouvellement #Urbain / #Urbaine ...@ Les #30Glorieuses . com les #vues #urbaines #Paysages de #Ville (s) d'Antan...S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.
Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ... museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre 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 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/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
Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie dla 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/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I
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 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 - 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
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil
Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).
Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon
Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.
En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».
Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture.
file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.
www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg , A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture.
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.
Bancada:
senador Paulo Paim (PT-RS);
deputado Prof. Paulo Fernando (Republicanos-DF) - em pronunciamento;
deputada Socorro Neri (PP-AC).
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.
Nueva York (EEUU), 26 de septiembre 2012. El Secretario General de la Corte Permanente de Arbitraje, Hugo Siblesz, se reunió con el Vicecanciller del Ecuador, Marco Albuja. Foto: Fernanda LeMarie - Ministerio de Relaciones Exteriores, Comercio e Integración.
Roy Chaderton, Ambassador, Permanent Representative of Venezuela to the OAS
Date: May 24, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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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
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
Date: April 29, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) promove audiência pública para apresentar o "Programa de Capacitação para Enfrentamento da Violência contra Mulheres e Meninas", projeto da Fundação Demócrito Rocha.
Presidente da CMCVM, senadora Augusta Brito (PT-CE) conduz audiência.
Foto: Edilson Rodrigues/Agência Senado
Soul is permanent and phases of soul are temporary which will give temporary happiness. When you realize that I am really soul and relations are phases then you will get permanent happiness. Attain self realization through Gnan Vidhi ceremony.
Permanent Red Light es el nombre del color rojo que he utilizado para pintar el primer dibujo con mis nuevas acuarelas. Esperemos sea el primero de mucho más.
Permanent Red Light is the name of the red colour I've used for painting the first drawing with my new watercolours. Hopefully the first of many more.
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Twitter: twitter.com/sombra_glez
Blog : inmersiondigital.wordpress.com
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twitter.com/Memoire2citeil existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Nueva York (EEUU), 26 de septiembre 2012. El Secretario General de la Corte Permanente de Arbitraje, Hugo Siblesz, se reunió con el Vicecanciller del Ecuador, Marco Albuja. Foto: Fernanda LeMarie - Ministerio de Relaciones Exteriores, Comercio e Integración.
The continual look on this breed of cat is both amusing yet disturbing to me. Her short ears look like they're always pushed back, showing the body language of being afraid. The haunting eyes just add to the drama. So, when it's time for normal cat play, like playing with a ball, she looks completely terrified despite having fun.
This kitten also costs about 220 000 yen, which is more than I'm likely worth.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para avaliar a implantação do novo Código Florestal e a implementação do Acordo de Paris.
Mesa:
presidente substituto do Ibama, Luciano de Meneses Evaristo;
senador Garibaldi Alves Filho (PMDB-RN);
presidente da CMMC, senador Jorge Viana (PT-AC)
Foto: Roque Sá/Agência Senado
From left to right:
Jean Michel Arrighi, OAS Secretary for Legal Affairs
Hugo de Zela, Chief of Staff to the OAS Secretary General
Jose Miguel Insulza, OAS Secretary General
Duly Brutus, Ambassador, Chair of the OAS Permanent Council and Permanent Representative of Haiti
to the OAS
Date: November 21, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Henri de Toulouse-Lautrec - French, 1864 - 1901
Quadrille at the Moulin Rouge, 1892
West Building, Main Floor — Gallery 80
A man and woman standing with their backs to us face a room where others stand or pose in this vertical painting. Though made with oil on cardboard, the paint is applied loosely with visible strokes so the painting looks more like a pastel drawing. The people have peach-colored or mint-green skin. Cut off by the left edge of the painting, the man wears a black top hat and suit. We only see the short blond hair behind one ear and the jutting cheekbone and jaw of his profile. The woman takes up almost the left half of the picture. She wears a flat, brown coat outlined in royal blue, a fur stole around her neck, and a blue hat with flowers. Her brown hair is pulled up, and she looks to our right in profile with pale, nearly ash-white skin. Across from the couple, to our right and farther into the room, a woman wearing a teal-green dress stands with her feet planted wide so her feet flare out and her hands on her hips. Her body is squared toward the couple, and she looks off to our left. A black hat perches on her yellow hair, which is piled atop her head. She cocks one eyebrow over green eyes, and her lips curl in a lopsided sneer over a double chin. A tawny-brown corset under her bust cinches her waist. She gathers the skirt in fistfuls with each hand to reveal white petticoats and black boots or shoes. Two more people stand facing away from us behind her and to our left. Seen between the first pair and this woman, the man here also wears a black top hat and suit, and he has orange hair. The woman has brown hair. Her bodice is vivid pink, and the skirt is dark brown. An arc of white from the hem of her skirt up to her head suggests she has flung that side of the skirt up. Another woman’s face cast with green is tucked between the heads of the first couple. That woman looks off to our left under lifted brows with a drooping mouth. The two couples face a structure with columns supporting a roof, probably a bandstand, in the upper right quadrant of the composition. The ground in the lower half of the picture is streaked with sable brown and olive green. The rest of the background behind the bandstand is filled with sea green against the brown board on which this was painted. An indistinct red mark in the lower right corner has the artist’s initials intertwined, “HTL.”
Henri de Toulouse-Lautrec was the only surviving son of closely related families from the provincial aristocracy of southwestern France. His father and his uncles were talented amateur artists, and Lautrec showed a keen interest and natural ability in drawing from childhood. At age thirteen he fell while getting up from a chair and broke his left femur. The following year he broke his right leg. Although it was not properly diagnosed during his lifetime, it is likely that Lautrec suffered from a bone disease (perhaps owing to the numerous consanguineous marriages in the family), and his legs stopped growing after the accidents. During his long convalescence Lautrec filled notebooks with his drawings and watercolors. His first art teacher, René Princeteau, encouraged his efforts, and Lautrec persuaded his parents to allow him to pursue further training in Paris. In 1882 he entered the atelier of Léon Bonnat, then transferred to Fernand Cormon's studio that autumn. He studied with Cormon until 1886, where he met his lifelong friends Louis Anquetin, Emile Bernard, and Vincent van Gogh.
Lautrec's work was intimately connected to the life of Montmartre from the start of his professional career. His first illustrations were published in the Montmartrois journals Le Courrier français and Le Mirliton in 1886, the same year that the Mirliton cabaret began displaying Lautrec's paintings. His work focused on the life of the butte, featuring the dance halls, circuses, cafés-concerts, and brothels that dotted the slopes of the hillside. An outgoing and social person, Lautrec befriended a heterogeneous group of Montmartre denizens, including aristocrats, streetwalkers, artists, writers, models, and cancan dancers. His portraits of his companions - often set in his studio, in neighborhood cafés, at dance halls, or at cafés-concerts - present a cross section of the population of Montmartre.
In the later 1880s Lautrec began to exhibit widely, at venues ranging from the avant-garde Les XX in Brussels to the Exposition Universelle des Arts Incohérents, the Salon des Indépendants in Paris, and the Exposition du Petit Boulevard organized by Vincent van Gogh in 1887. Vincent's brother, Theo van Gogh, began to support Lautrec's art at the gallery Boussod and Valadon in 1888, a policy continued more actively when Lautrec's childhood friend Maurice Joyant became manager following Theo's death in 1891. Lautrec created his first lithograph - the poster La Goulue: Moulin Rouge - in December 1891 and went on to design another twenty-nine posters and hundreds of prints, drawings, and paintings in the remaining ten years of his life.
In 1899, his health failing from the effects of alcoholism and syphilis, Lautrec was institutionalized for several months at an asylum near Paris, where he produced a remarkable group of drawings of the circus, drawn from memory. Soon after his release he returned to drinking, and his artistic production dropped significantly. In 1901 he suffered a stroke and died two months before his thirty-seventh birthday at his mother's estate, the Château de Malromé.
(This biography, written by Mary Weaver Chapin, was published in Toulouse-Lautrec and Montmartre; exh. cat. by Richard Thomson, Phillip Dennis Cate, and Mary Weaver Chapin, with assistance by Florence E. Coman; National Gallery of Art, Washington, D.C., The Art Institute of Chicago; Washington, D.C., 2005: 255.)
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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07 December 2020, Rome - (Composite picture from left) FAO Director-General QU Dongyu receiving Credentials from Neena Malhotra, Ambassador and Permanent Representative of India.
Photo: ©FAO. Editorial use only. Copyright ©FAO.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial para instalação e eleição do presidente e vice-presidente da comissão.
À mesa, presidente em exercício da CMMIR,
senador Telmário Mota (Pros-RR).
Foto: Leopoldo Silva/Agência Senado
Subcomissão Permanente de Proteção e Defesa da Pessoa Idosa (CASDPI) realiza audiência pública interativa para tratar sobre a efetividade da Lei n° 10.741, de 2003, o Estatuto da Pessoa Idosa, o qual procura garantir o acesso da pessoa idosa ao trabalho digno e adequado às suas condições; afastar qualquer discriminação na admissão ou na atividade profissional da pessoa idosa; e habilitar e capacitar as pessoas idosas para o trabalho.
Convidados à bancada acompanham audiência pública.
Foto: Roque de Sá/Agência Senado
From left to right:
Michaelle Jean, Special Envoy to Haiti, UNESCO
Albert R. Ramdin, OAS Assistant Secretary General
Jorge Skinner-Klee, Ambassador, Chair of the OAS Permanent Council and Permanent Representative of Guatemala to the OAS
Carmen Lucia de la Pava, Chief of Staff of the OAS Assistant Secretary General
Date:September 13, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS