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Solenidade de Abertura da Comissão Permanente de Democratização e Aperfeiçoamento dos Serviços Judiciários
DEMOCRATIZANDO O ACESSO À JUSTIÇA. Foto: Gil Ferreira/Agência CNJ
Jean-Auguste-Dominique Ingres - French, 1780 - 1867
Marcotte d'Argenteuil, 1810
West Building, Main Floor — Gallery 56
Shown from about the waist up, a man with pale, peachy skin, wearing a marine-blue greatcoat over several layers of clothing, looks out at us in this vertical portrait painting. The man’s body is angled to our left, and he looks at us from the corners of his dark brown, hooded eyes. He has an oval face with a slightly jutting chin, a long, straight nose, and his full-lipped mouth is lightly pursed. He is lit from our left, casting the right ear and side of his face in shadow. His chestnut-brown, wavy hair is short, and brushed forward over the ear we can see. Several shirts and coats are layered over his shoulders. Closest to his skin, a high-collared white shirt, with points reaching past his jawline, is tied with a wide, black neckcloth. Next is a custard-yellow garment, also with a high-neck, perhaps a vest. Over that he wears a brown coat with wide, pointed lapels. A bright, scarlet-red oval is fastened to one buttonhole on the lapel to our right, and a gold and rose-pink ornament peeks out from the bottom hem at his waist. Finally, the blue greatcoat has an elbow-length cape, and nearly falls off his shoulders. Fabric across the back of the collar is a hood lined with dark silver satin. He props his left elbow, to our right, on a table or ledge, and that wide cuff is rolled back over the white edge of this shirt. He wears a gold band on the pinky finger of that hand. The ledge is draped with a deep, marmalade-orange cloth. Gold tassels dangling from the end of a scrolled, bound document hangs off the edge of the ledge, near the man’s wrist. The background deepens from sage green along the lower left edge of the painting to fawn brown around the man’s head. The artist signed and dated the lower right corner, “Ingres. Pinx. Rom. 1810.”
Born in 1780 in the southern French town of Montauban, Jean-Auguste-Dominique Ingres had early instruction from his father, an artist in the town's employ. The boy showed a precocious musical and artistic talent. Aged twelve, he was enrolled at the Academy of Toulouse, under the painter Joseph Roques, a friend of Jacques-Louis David. Still uncertain of his vocation, Ingres kept up his musical interest, supporting himself by playing the violin in the theater of Toulouse. In 1797 he left for Paris to study with David who was then at work on his Battle of Romans and Sabines. Disputes at the time troubled the master's teaching studio. It contained, besides docile followers, some rough bohemians (Crassons) at war with fellow pupils of a royalist or Catholic bent (Muscadins). Keeping aloof from these factions, a handful of principled dissidents aspired to an art more pure and genuinely "antique" than David's. Steeped in early literature and archaic art, in Homer, Ossian, and the Bible, they made themselves conspicuous by wearing beards and Greek costume and were known derisively as Barbus or Primitifs. Though not himself a member of this group, Ingres sympathized with them, and in his own student work affected a severe linearity that implied a reaction against his master's more moderate classicism. David nevertheless recognized his talent and used him as his assistant in the execution of the Portrait of Madame Récamier. Admitted to the Ecole des Beaux-Arts, Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles (Ecole des Beaux-Arts, Paris). While a shortage of state funds delayed his departure for Italy, he lived in a community of young artists housed in a disused monastery. Medieval sculptures in the Musée des Petits-Augustins, the salvage of churches pillaged during the Revolution, deepened his taste for early styles. His studies at the Louvre, where Napoleon had assembled masterworks of the early Italians and Flemings, offered him further alternatives to Davidian classicism. At the Salon of 1806 his originality as an exacting stylist was manifested in the three portraits of Philibert Rivière, Mme Rivière, and Mlle Rivière (Louvre) -intricately designed, nearly shadowless figures, formed of distinct areas of color. They were ignored by the critics, but a fourth painting, of commanding size, Napoleon on the Imperial Throne (Musée de l'Armée, Paris), scandalized them by its static symmetry and hard, "Gothic" artificiality.
In 1806 Ingres finally took his place among the pensioners of the French Academy in Rome. He used the four years of his stipend to immerse himself in the work of the Renaissance masters, Raphael above all, but his eyes were also open to medieval and Byzantine art. Several masterly portraits mark the early years of his Roman stay, among them those of Mme Devauçay (1807, Musée Condé, Chantilly) and of François-Marius Granet (c. 1807, Musée Granet, Aix-en-Provence). Required to show proof of his progress, he submitted deeply calculated studies of the nude, finished off by the addition of narrative detail, Oedipus and the Sphinx and the "Valpincon Bather" in 1808 (both, Louvre) and Jupiter and Thetis in 1811 (Musée Granet, Aix-en-Provence). After his stipend expired in 1810, he prolonged his stay in Rome by making portraits of its French administrators, among them that of his future patron and lifelong friend, Marcotte d'Argenteuil (1810, National Gallery of Art, 1952.2.24). He was among the painters charged with the decoration of the Quirinale Palace, chosen as residence for Napoleon's infant son, the king of Rome. His share consisted of two large paintings, The Dream of Ossian (1813, Musée Ingres, Montauban), a luridly romantic subject ill-suited to his talent, and Romulus Victorious over Acron (1812, Louvre), executed in tempera to simulate fresco and composed as a frieze recalling works by John Flaxman (1755-1826) in its two-dimensionality. Among his Napoleonic patrons was Caroline Murat, sister of the emperor and queen of Naples, for whom he painted the Grand Odalisque (1814, Louvre), a woman of the harem reclining in a posture reminiscent of David's Madame Récamier for which Ingres had painted the accessories. The steely finish and the extravagant elongations and sinuosities of this nude troubled the reviewers of the Paris Salon, where the picture was shown in 1819. Painted for his friend Marcotte at about the same time, but in a totally different style, the National Gallery's Pope Pius VII in the Sistine Chapel (1952.2.23) presents a modern scene in minute detail and with great painterly subtlety.
In 1814 the collapse of the French government in Rome deprived Ingres of patronage and reduced him to making a meager living for himself and Madeleine Chapelle, his young bride, by drawing portraits of visiting foreigners. At this juncture, the fashion for small, genrelike paintings of historical subjects came to his aid. With his gift for minute execution, he composed scenes from the lives or legends of famous men with conscientiously researched detail. His painted anecdotes--Henry IV and the Spanish Ambassador (1817, PetitPal), The Death of Leonardo da Vinci (1818, PetitPal), and others of this kind--have the bright distinctness of manuscript illuminations. To the Salon of 1819 he submitted, besides the Odalisque of 1814, a scene from Ariosto, Roger Saving Angelica from the Dragon (Louvre), which made effective use of the contrast between the golden gleam of Roger's armor and Angelica's fleshy whiteness, highlit against the lugubrious darkness of cliff and sea. The critics were hostile, but the picture was bought by the State.
In 1817 Ingres received his first major commission from the Restoration government then in the process of refurbishing churches neglected since the Revolution. It called for an altarpiece representing Christ Delivering the Keys to Saint Peter to be installed in the French church of Santa Trinita dei Monti in Rome (1820, now Musée Ingres, Montauban) and was followed in 1820 by an even larger charge, the execution of The Vow of Louis XIII (completed 1824) for the cathedral of Montauban, Ingres' native city. Drawing heavily on motifs from Raphael and carried out with the help of many model studies, these projects occupied him for nearly a decade. Ingres, who had meanwhile moved to Florence, in 1824 accompanied The Vow of Louis XIII to Paris, where it won a resounding success at the Salon. Long accustomed to critical abuse, he now became the object of flattering attention from an art administration that, threatened by the hostility of the younger artists and the rising tide of romanticism, needed a leader strong enough to take David's place. In this emergency, Ingres seemed--despite his eccentricities--a possible defender of the traditions of great art. Awarded the Legion of Honor and elected to the academy, he was persuaded to remain in France, where he opened a teaching studio in 1825 and became David's heir as the most influential teacher of the unruly young and groomer of Rome Prize winners. He may have been unaware of the strategy that had led to his elevation and was, at any rate, ill cast in the role of academician, being of independent mind and opposed to academic routine.
Important official commissions now came his way. For a newly decorated gallery of the Louvre, he was assigned an ideologically significant subject, the Apotheosis of Homer (1827), which he conceived as an homage to classical authority and affirmation of the continuity of tradition. In two hundred drawings and more than thirty painted studies, he calculated every detail of the composition but curiously failed to consider its ultimate function as a ceiling panel. At the Salon of 1827, it appeared as the conservative counterweight to Delacroix' anarchical Death of Sardanapalus (Louvre). Both pictures failed to please: Ingres' work was considered a bore, Delacroix', the ravings of a lunatic.
The Revolution of 1830 found Ingres at his post as national guardsman, protecting, rifle in hand, the Italian masters at the Louvre. The liberal monarchy of Louis-Philippe gave him honors but little work. It named him president of the Ecole des Beaux-Arts, but the great commission that occupied him in the 1830s, the Martyrdom of Saint Symphorian (1826-1834) for Autun cathedral, had been given him by the previous regime. He labored over it for nearly ten years, only to find that, when shown at the Salon of 1834, it was dismissed by the critics as outmoded in style and subject matter. Deeply angered, Ingres declared that he would never show his work in Paris again and departed for Rome to assume the directorship of the French Academy. His output during his six-year term at the Villa Medici was relatively small, culminating in two paintings, Odalisque with Slave, an oriental fantasy (1839, Fogg Art Museum, Cambridge, Massachusetts), and Antiochus and Stratonice (1840, Musée Condé, Chantilly), painted for the duc d'Orléans, the king's eldest son. A classical subject staged with minute attention to archaeological detail, this picture was shown at the Palace of the Tuileries. Its popular success enabled Ingres to make a triumphal return to France.
Much of his energy during the following decade was spent on the project of a large mural decoration on the themes of the Age of Gold and the Age of Iron for the château of the duc de Luynes at Dampierre. Begun in 1842, Age of Gold, which Ingres planned as an image of humanity's primeval existence in a state of ideal beauty, developed into a dreamlike congestion of nudes in an Arcadian setting. Discouraged after years of effort, he left the project unfinished in 1850 but returned to its subject in 1862, in a painting of small size (Fogg Art Museum, Cambridge, Massachusetts). It was in several portraits of society wornen--Vicomtesse d'Haussonville (1845), Baroness Rothschild (1848), Madame Moitessier (1851, National Gallery of Art, 1946.7.18), Princesse de Broglie (1853), and Madame Moitessier Seated (1856)--that Ingres achieved the monumentality that had eluded him in work of wall-size dimensions.
His wife's death in 1849 cast him into a depression that prompted him to resign his professorship at the Ecole des Beaux-Arts, but his marriage in 1852, at age seventy-two, to Delphine Ramel, a relative of his friend Marcotte, revived his spirits and renewed his self-confidence. The government of Napoleon III commissioned him in 1853 to paint an Apotheosis of Napoleon I for a ceiling at the Hôte1 de Ville (destroyed in 1871) and honored him with a grand retrospective exhibition at the Universal Exposition of 1855. Like David, who in his old age had turned to erotic subjects, the aged Ingres showed a renewed interest in the female nude, causing him to revisit motifs from his own earlier work: Venus Anadyomene (1848, Musée Condé, Chantilly) completed a composition begun in 1808; La Source (1856, Louvre), a boldly frontal nude, was the reworking of a canvas begun in 1820; Turkish Bath (Louvre), finished in 1862 after changes of format and details, comprised in its crowded composition a repertoire of his earlier nudes.
Ingres was eighty-two years old when he signed this picture. In the same year he was appointed to the French Senate. He died, after a brief illness in January 1867, aged eighty-seven and still in vigorous mental and physical health. Having all his life shown a dislike of the academy and an aversion to the Salon, he was adopted by the establishment in the latter part of his career and perversely miscast in the role of archconservative. As such he has long figured in the history of art, though his work proclaims him to have been a stylist of daring individuality, whose single-minded dedication to an ideal of beauty based on difficult harmonies of line and color, on the music of relationships, and the mathematics of form, assures him a place apart. [This is the artist's biography published in the NGA Systematic Catalogue]
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
I’m waiting for the corn to pop
and giving the pot a shake or two.
There’s nothing that I chirp for more
than my old fashion stovetop pop.
Chirping daily:
Valentin Zellweger, Permanent Representative of Switzerland to the United Nations Office at Geneva during press luncheon before the Open Day at the United Nations. 26 September 2017. UN Photo / Jean-Marc Ferré
Permanent collections and temporary exhibits of American, Pre-Columbian, Oriental, African, and Native American art by regional artists housed in two historic buildings.
Source: livinghistories.newcastle.edu.au/nodes/view/41745
About this photo: Beryl Nashar with an unidentified student who won the 1985 Greater Newcastle Permanent Building Society Scholarship and Mr Fraser, then General Manager of Greater Newcastle Permanent Building Society, Australia
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us or leave a comment.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM): Apreciação de requerimentos e apresentação do plano de trabalho da comissão para 2016.
Mesa (E/D):
deputada Luzianne Lins (PT-CE);
presidente da CMCVM, senadora Simone Tebet (PMDB-MS);
deputada Keiko Ota (PSB-SP)
Foto: Jefferson Rudy/Agência Senado
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza reunião para instalação e eleição de presidente e vice.
Mesa:
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
vice-presidente CEEEFCB, senador Marcos do Val (Cidadania-ES);
senador Dário Berger (MDB-SC).
Foto: Roque de Sá/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião. 1ª parte: apresentação do relatório de atividades do biênio 2017-2018; 2ª parte: apreciação de requerimentos.
Participam à mesa:
vice-presidente da CMCVM, deputada Elcione Barbalho (MDB-PA);
deputada Áurea Carolina (PSOL-MG);
presidente da CMCVM, senadora Zenaide Maia (Pros-RN).
Foto: Jane de Araújo/Agência Senado
Tattoo removal is the latest technology for the permanent removal of tattoos. Tattoos were earlier thought to be permanent but they can be easily removed nowadays. Laser tattoo removal is a procedure in which high-powered lasers that destroy the ink of the tattoo. Watch the video to see the permanent tattoo removal procedure.
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#lasertattooremoval #tattooremoval #PermanentTattooRemoval #tattooremovalinhimachal #laserskintreatments
From left to right:
Victor Madrigal, Inter-American Commission on Human Rights
Hugo de Zela, Chief of Staff of the OAS Secretary General
José Miguel Insulza, OAS Secretary General
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Date: March 13, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Osprey - Pandion haliaetus
The Osprey is a large, fish-eating raptor intermediate in size between the Bald Eagle and Red-tailed Hawk. It breeds in North America from Alaska and the Yukon east to Newfoundland and south to Baja California, the Gulf Coast, and the Caribbean.
Habitat. Ospreys are typically associated with permanent water habitats, especially sea coasts, impoundments, lakes, rivers, and swamps. Breeding habitat requirements include open expanses of water that support abundant slow-moving fish, water clarity sufficient to allow visual detection of fish, and elevated or inaccessible sites for nest-building (Beebe 1974). Ospreys consume fish almost exclusively, although crustaceans, frogs, turtles, birds, and rodents are occasionally taken (Brown and Amadon 1968, King 1972, Wiley and Lohrer 1973, Toland 1985).
Osprey nest sites are highly variable, but in Florida the birds prefer either dead trees or living trees with broken or dead tops. The nest tree is usually taller than surrounding trees and as close to suitable foraging areas as possible (Ogden 1978b, Palmer 1988, Johnsgard 1990). Where natural sites are limited or missing, Ospreys readily nest on human-made structures, such as power poles, radio towers, channel markers, television antennas, or bridges (Ogden 1978b). The nest is a large, bulky structure that is regularly reused and enlarged for several successive years (Brown and Amadon 1968; Ogden 1978b, Palmer 1988). Ospreys typically lay 3 eggs that are creamy-white, and heavily blotched and spotted with browns, grays, and rust (Harrison 1978; Palmer 1988). Incubation requires approximately 38 days, and the young fledge at 49 to 59 days of age (Palme 1988; Johnsgard 1990).
Seasonal Occurrence. In Florida, the onset of nesting varies geographically; and Ospreys can be found nesting at any time of the year (Kale and Maehr 1990). In central Florida, Ospreys usually initiate breeding in February or March, and breeding continues through May or June (B. Toland, unpubl. data; B. Millsap, pers. commun.). In the Keys nesting may begin in November and December.
Status. The Osprey is a common and widespread breeding bird in Florida. Ospreys nesting in peninsular Florida south of the 29th parallel are unique among Ospreys of the eastern United States, because they are nonmigratory residents. In Monroe County only, they are considered a Species of Special Concern by the Florid Game and Fresh Water Fish Commission [editor: now Florida Fish and Wildlife Conservation Commission] (Woo 1991).
According to Ogden (1978b), the highest densities of nesting Ospreys in Florida occur along both coasts and in the central lakes region, and this is vividly shown on the Atlas map. Breeding pairs are quite conspicuous because of their habit of perching on snags, power poles, channel markers, or other sites with commanding views, and, as a result, the Atlas map is probably a fairly accurate portrayal of their distribution. During the breeding season, Ospreys draw attention to themselves by frequently emitting a series of plaintive staccato whistles. Their vocalizations accompany courtship displays that include high circling, hover flying, and sky dancing (Palmer 1988).
Brian R. Toland
Sponsored by Margaret K. Rondeau
Florida Power Corporation
This resource can be cited as:
Florida Fish and Wildlife Conservation Commission. 2003, January 6. Florida's breeding bird atlas: A collaborative study of Florida's birdlife. www.myfwc.com/bba/ (Date accessed mm/dd/yyyy).
Totally imperfect, perfectly forgiven.
If I had got a tattoo today that would have been permanently written on my arm for now. But I'm too young for such things so the only permanent thing about the text on my arm is the permanent marker I wrote it with.
Ragu Bolognese & Parmigiano
Note: We shared one portion. It was split in the kitchen.
Il Nido Ristorante (Permanently Closed)
Willow Point Shopping Center
184 Route 9 North
Marlboro, NJ
CONCURSO PERMANENTE DE JÓVENES INTÉRPRETES DE JUVENTUDES MUSICALES DE ESPAÑA - Auditorio "Ángel Barja" del Conservatorio Profesional de Música de León - ABRIL´09 - LEÓN
Pablo Lago Soto, trompa, primer premio en la modalidad de instrumentos de viento-metal, durante la prueba final.
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza 2ª audiência pública para debater o Plano Nacional de Esporte.
Mesa:
presidente da Confederação Brasileira do Desporto Escolar (CBDE), Antônio Hora Filho;
representante do Ministério da Defesa, General de Divisão, Jorge Antonio Smicelato;
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
secretário Especial do Esporte do Ministério da Cidadania, Décio dos Santos Brasil;
representante da Confederação Brasileira de Desportos de Surdos (CBDS), Deborah Dias de Souza.
Foto: Geraldo Magela /Agência Senado
May 20th, 2016.
Up : Maria Antonia Zamora, Helene Foucher, Juan Harnie.
Middle : Simcha Even Chen, Juan Riusech.
Down : Lital Meldel, Fabienne Chrystin.
Realizado em Brasília nos dias 19, 20 e 21 de novembro, uma iniciativa do Ministério da Saúde, por meio da Secretaria de Gestão do Trabalho e da Educação na Saúde, do Departamento de Gestão e Regulação do Trabalho (DEGERTS) e da Mesa Nacional de Negociação Permanente do SUS (MNNP-SUS), com o objetivo de contribuir para a consolidação das diretrizes da Política Nacional de Negociação Permanente do SUS e do seu Sistema Nacional de Negociação Permanente – SINNP-SUS.
Fotos: Ana Oliveira/MNNP-SUS
Realizado em Brasília nos dias 19, 20 e 21 de novembro, uma iniciativa do Ministério da Saúde, por meio da Secretaria de Gestão do Trabalho e da Educação na Saúde, do Departamento de Gestão e Regulação do Trabalho (DEGERTS) e da Mesa Nacional de Negociação Permanente do SUS (MNNP-SUS), com o objetivo de contribuir para a consolidação das diretrizes da Política Nacional de Negociação Permanente do SUS e do seu Sistema Nacional de Negociação Permanente – SINNP-SUS.
Fotos: Ana Oliveira/MNNP-SUS
What is real happiness? Permanent bliss?
Pujya Niruma says that happiness is very subjective. What may bring happiness to one person, may not be bring happiness to any other. All this is relative happiness. Such relative happiness is dependent on something external. And such a state is not permanent either. It all depends on the belief of the person.
The real happiness and bliss lies in the Soul. It brings peace and is permanent. It is a very high state of being, very close to the path of Moksha. Such joy is serene, which does not get disturbed by external forces. Such happiness is a natural characteristic of the Soul.
Visit this webpage to know more:
In English: www.dadabhagwan.org/discover-happiness/
In Hindi: hindi.dadabhagwan.org/discover-happiness/
In Gujarati: www.dadabhagwan.in/discover-happiness/
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Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência interativa para debater aspectos civis do sequestro internacional de crianças, com a presença, entre outros, dos ministros da Justiça, Torquato Jardim, e das Relações Exteriores, Aloysio Nunes Ferreira.
Mesa:
mãe de criança com processo de repatriação, Valéria Ghisi;
chefe de Divisão de Cooperação Jurídica Internacional do Itamaraty, André Veras;
adjunta da advogada - geral da União, Fernanda Menezes Pereira;
presidente eventual da CMCVM, deputada Luana Costa (PSC-MA);
coordenadora-geral da Autoridade Central Administrativa Federal, Natália Camba;
Advogada, Claudia Grabois.
Foto: Waldemir Barreto/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater a constitucionalidade e implantação do Código Florestal. Entre os convidados estão representantes da Embrapa e da USP.
Em pronunciamento, secretário de Mudanças Climáticas e Qualidade Ambiental, José Domingos Gonzalez Miguez
Foto: Pedro França/Agência Senado
Another Space presents Permanent Construction, an exhibition at Open Source Gallery curated in collaboration with Victoria Bugge Øye, and featuring the artists Melodie Mousset, Owen Armour, and Anna Daniell. Read more here.
In the floor: Owen Armour, Untitled (2013). Concrete, tulle, vaseline, water.
October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.
This is Bo's permanent position when he goes for a "car ride"
They are doing endless construction on Rock Creek Parkway and what should have taken 10 mins to get to Dumbarton Oaks park took almost an hour. The boys didn't seem to mind the delay. It's all an adventure for them.
cinnamondaze.blogspot.com/2008/04/cant-play-without-stick...
Permanent exhibition on the top floor of the Casa de Monedas museum in downtown Bogotá.
La Canderaria - Bogotá, Colombia.
Invisible airwaves crackle with life
Bright antennae bristle with the energy
Emotional feedback on timeless wavelength
Bearing a gift beyond price, almost free
All this machinery making modern music
Can still be open-hearted.
Not so coldly charted
It's really just a question of your honesty, yeah,
Your honesty.
One likes to believe in the freedom of music,
But glittering prizes and endless compromises
Shatter the illusion of integrity.