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Team-phenomenon, having today a permanent place in the pantheon of the most important groups counterculture Central and Eastern Europe. The name of this cult band of course after the famous song by Frank Zappa and the Plastic People beginnings date back to 1969 (for many reasons pivotal year in world music). Style of the band is an explosive mix of psychedelic rock, symphonic sound, art-rock with a touch of folk, jazz, and sometimes even harsher sounds, such as punk. In addition to DG 307, Plastic People of the Universe also they became the musical symbol of rebellion and resistance against official power, which naturally brought to the members of the numerous problems and repression, including interviewing, beatings, inability to develop the passport, and finally the long-term imprisonment. Over the years, the band was falling apart, alternating crashed and reactivity itself, there were various ancillary stores, such as Midnight derived from the original "plastic". On the other voices will, however, exceptional and unique opportunity to see and hear the real Plastic People of the Universe. An opportunity which you simply can not miss.
A few years ago I built a custom case for a PC in the form of a small HO scale factory building. The PC was named Brazil (after the EC warship) so I made a nameplate and attached it to the building.
I don't know how many dozen times I rode past this building before I noticed the name :-)
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para discutir o PL 5.555/2015, que cria mecanismos para o combate a condutas ofensivas contra a mulher na internet ou em outros meios de comunicação.
Em pronunciamento, senadora Regina Sousa (PT-PI).
Foto: Waldemir Barreto/Agência Senado
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 de Avaliação do Sistema Tributário Nacional (CAESTN) realiza reunião de instalação e eleição do presidente e vice para o biênio 2015/2016.
À mesa, o presidente da CAESTN, senador Lindbergh Farias (PT-RJ).
Foto: Marcos Oliveira/Agência Senado
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
Paula María Bertol, Ambassador, Permanent Representative of Argentina to the OAS
Date: March 7, 2018
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
Subcomissão Permanente da Pessoa com Deficiência (CASPCD) e a Subcomissão Temporária sobre Doenças Raras (CASDRAR) realizam audiência pública interativa para debater questões relacionadas à Síndrome de Tourette.
Mesa:
portadora da Síndrome de Tourette, Regina Aparecida da Silva Amorim;
médica especialista na Síndrome de Tourette, Ana Gabriela Hounie;
membro da Comissão das Pessoas com Síndrome de Tourette, Aníbal Moreira Júnior;
presidente da CASPCD, senador Flávio Arns (Rede-PR);
portador da Síndrome de Tourette, Alexandro Cardoso;
presidente da Associação Solidária do TOC e Síndrome de Tourette, Larissa Miranda.
Foto: Jane de Araújo/Agência Senado
microblading
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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
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.
Luis Alfonso Hoyos Aristizábal, Ambassador, Permanent Representative of Colombia to the OAS
Date: November 23, 2010
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza lançamento da publicação do seminário "12 Anos da Lei Maria da Penha", realizado em dezembro de 2018.
À mesa, em pronunciamento, advogada e fundadora do Centro Feminista de Estudos e Assessoria (Cfemea), Iáris Ramalho Cortês.
Foto: Waldemir Barreto/Agência Senado
Permanent vegetation planted in a historical saline seep area. The uplands have been planted to vegetation that uses excess moisture from the soil surface for an extended time so that the saline seep is no longer visible as bare area with white crusting. In this case, the seep area is productive again and the field is hayed. The Montana Salinity Control Association, NRCS, and local landowners have been partnering for decades to reduce the occurrence of saline seeps acros the landscape. Saline seeps can be exacerbated by farming practices that do not maximize a living root in the soil to utilize excess moisture that can collect salts that move to the soil surface when water evaporates, causing non-productive areas in fields. Tom Beck (C), farmer, Floyd Johnson (L), farmer, Andy Johnsrud (R), NRCS supervisory district conservationist. Dane Valley, Roosevelt County, MT. June 2022.
Ismael Alcalde Valero, guitarra
Fase eliminatoria de guitarra del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que se celebra entre el 23 y el 25 de marzo´12 en la ciudad de Ávila, organizado por Juventudes Musicales de Ávila.
La fase eliminatoria tuvo lugar en el Auditorio del Conservatorio de Música de Ávila.
A winter friendly installation of a small 'camping' satellite dish to a dwelling where no permanent installation things can be done.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza audiência pública remota para debater acerca dos deslocamentos humanos forçados e mudanças climáticas.
Foto: Edilson Rodrigues/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública com o intuito de debater a crise hídrica na região do Vale do São Francisco com vistas à preservação do sistema produtivo da agricultura irrigada.
Em pronunciamento, a presidente do Ibama, Marilene Ramos.
Foto: Geraldo Magela/Agência Senado
Paul Gauguin - French, 1848 - 1903
Breton Girls Dancing, Pont-Aven, 1888
West Building, Main Floor — Gallery 83
Three light-skinned girls hold hands to create a loose ring with their arms extended, in a grassy field in this horizontal painting. All three girls wear white headdresses, ankle-length, long-sleeved dresses, and clogs. Each dress has a wide white collar that extends beyond the shoulders. A ruby-red flower is pinned to the brown apron on the two girls whose fronts we see. Their features and clothing are outlined in cobalt blue and filled in with parallel, often visible strokes. To our left, a girl stands with both arms stretched out, one holding the hand of the girl next to her, to our right. The first girl looks off into the distance to our left with dark eyes. She has a button nose, and her peach-colored lips curve down at the corners. Her auburn-red hair is tucked back under her bonnet. Her dress is navy blue, and her stockings are brick red. She steps forward onto her right foot, to our left. The second girl, holding the first girls’ hand, stands facing our right in profile, looking slightly down. Her features are indistinct, but she also seems to have a snub nose and her pink lips are closed. She has blond hair and an emerald-green dress. Her hazelnut-brown stockings match her apron. She also steps forward, but onto her left foot. The third girl stands with her back to us, seen between the first two, as she looks over her shoulder to our right in profile. Her left arm is also raised but her right arm is hidden behind the second girl. The third girl has brown hair and a pointed nose. Her dress is black, and she steps forward onto her right foot. A small dog with brown and white speckled fur sniffs at the grass to our right of the girls. Piles of long grass or hay dot the lemon-lime green field, which dips down behind the girls and to our left to meet a low, stone gray wall. Buildings in plum purple, ivory white, terracotta orange, and ocean blue span the width of the painting beyond the wall. One narrow spire reaches above the other rooflines. Tall, narrow, dark green trees are interspersed among the buildings, and a hill climbs nearly to the top of the canvas to our left. A few thin slate-gray clouds float across a narrow band of shell-pink sky above. The artist signed and dated the work in lower right corner, “P. Gauguin 88.”
Paul Gauguin's (1848–1903) famous image as the original Western “savage” was his own embellishment upon reality. That persona was, for him, the modern manifestation of the "natural man" constructed by his idol, the philosopher and writer Jean-Jacques Rousseau (1712–1778). Gauguin's rejection of the industrialized West led him to embrace handmade arts and crafts as creative endeavors equivalent to other, more conventionally accepted art forms. In his self-conceived role as ideal artist-artisan, he produced an original and rich body of work in varied media, dissolving the traditional boundaries between high art and decoration.
The artist and his older sister Marie were born in Paris to highly literate upper-middle-class parents from France and Peru. Gauguin's early life was shaped by his family's liberal political activism and their blood ties spanning the Old and New Worlds. His father, Clovis Gauguin, was a journalist; his maternal grandmother, Flora Tristan (Flora Tristán y Moscoso), was a Peruvian Creole and a celebrated socialist active in France.
In 1849 Gauguin’s parents fled France for Peru with their two young children, fearing repercussions from Louis-Napoleon (later emperor Napoleon III), who had not received support from Clovis’ paper as the republic’s presidential candidate. Clovis Gauguin died during the passage; young Paul would spend his childhood in colonial Lima, Peru, and his adolescence in his father's native city of Orléans, France. Though his widowed mother had few means beyond a modest salary as a seamstress in Orléans, the boy was surrounded in both cities by prosperity and culture, thanks to family and friends.
In the late 1860s Gauguin traveled the world with the merchant marines as a third-class military seaman. He started painting and building an art collection when he settled in Paris as a stockbroker in 1872. Having inherited trust funds from his grandparents and earning good money in his new career, he lived well, marrying a middle-class Danish woman, Mette, in 1873, and had five children with her. After learning to paint and model on his own, Gauguin studied with neighboring professional artists. Intellectually restless and independent, he sought and absorbed information from myriad sources, synthesizing them into his own aesthetic. In 1879 Gauguin joined the "indépendants" (impressionists), thanks in part to Camille Pissarro, another New World transplant (from Danish Saint-Thomas) who became a special mentor. Gauguin exhibited regularly with them, earning modest critical attention, until the group disbanded in 1886.
Gauguin lost his job in the brokerage world after the financial crash of 1882. He moved his family to the more affordable town of Rouen and became a sales representative for a canvas manufacturer. However, his focus on art and political activism intensified. He undertook missions to the Spanish border to promote the Spanish republican cause. Alarmed at the dramatic change their life was taking, Mette took the children to her native Copenhagen. Gauguin followed, but soon declared the city to be unsuitable to his career and temperament. He left to pursue an independent life, though he remained in regular contact with his wife and children, largely by correspondence, for the rest of his life.
Surviving on odd jobs and often without cash, Gauguin began his lifelong nomadic existence in 1886, traveling between Paris and various “exotic” regions. In the process he became known as a colorful and controversial avant-garde artist, primarily through works sent from those remote sites for sale and exhibition in Europe. Gauguin’s travels included ill-fated moves to Panama and Martinique.
In 1888 Gauguin began spending extended time in the French provinces. He went first to Pont-Aven, Brittany, where he became familiar with the art of Émile Bernard (1868–1941), who worked in a style of bold and flat forms. Gauguin then went to Arles to join Vincent van Gogh, which proved to be an important, albeit emotionally tumultuous, artistic encounter for both men. He then returned to Brittany, to the village of Le Pouldu.
Gauguin’s final move to the Pacific Islands, with sporadic returns to Paris, occurred in 1891 with his transfer to Tahiti as head of a government-funded artistic mission. He found his dream of an unspoiled earthly paradise there severely compromised. As in Europe, he saw discord and a native culture overcome by Western values—including the need for capital to live. Nonetheless he produced prolifically, amidst quarrels with authorities, scandals, and romantic liaisons.
Various illnesses left Gauguin increasingly immobilized during his last years. He died in 1903 and was laid to rest on Atuona (Marquesas Islands).
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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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What a breath of fresh air this festival was, even on a humid summer night. Both Alien Observer and Permanent Destruction blew me away, friday night.
Freestanding 78M permanent, slim Met Tower with anti-climbing facilities. Northern Ireland - lynxmetmasts.com
Secretary General Ban Ki-Moon addresses the Ninth Session of the Permanent Forum.
Photo: Broddi Sigurdarson
The world’s largest permanent exhibition space for Western art is in Cartersville, Georgia at the Booth Western Art Museum.
Open since 2003 and located just north of Atlanta along I-75, the Booth is the largest museum of its kind in the Southeast and an Affiliate to the Smithsonian Institution. At 120,000 square feet, the Booth is an architectural wonder – designed to resemble a modern pueblo and constructed from Bulgarian limestone. The Booth’s permanent collection of Western art, Presidential portraits and letters, and Civil War art allows visitors to “See America’s Story” – the land, people, struggles, dreams, and legends – in paintings, sculpture, photography and artifacts. Sagebrush Ranch is an award-winning, hands-on experience and interactive children’s gallery.
Western art in Georgia, specifically Cartersville? Booth Museum was started by a family who call Cartersville home and have been Western art collectors for many years. It was their wish to share their art with the community, particularly young people who might not otherwise be exposed to art. The Museum was named for Sam Booth, a good friend and mentor to the founders of the Museum. Booth Western Art Museum is operated under the umbrella of Georgia Museums, Inc., which also includes Tellus Science Museum, Bartow History Museum and, coming soon, Savoy Automobile Museum.
Since opening, more than 3/4 million people have visited the Booth. As the buzz surrounding the Booth continues to grow, so does the Museum’s accolades, including being named the 2016 Escape to the Southeast Travel Attraction of the Year by the Southeast Tourism Society, 2016 Reader’s Choice “Best Western Museum” in America by True West Magazine, listed among “The South’s Best Museums” by Southern Living, top 10 ranking in “30 Must-See Art Museums In The U.S.” by thecareerartproject.com, and one of “5 U.S. Art Museums to Add to Your Bucket List” by thedailyquirk.com.
The Booth’s permanent collection covers more than a dozen galleries, showcasing legendary artists such as Frederic Remington and Charles Russell to contemporary masters Howard Terpning and Andy Warhol. Unique to the Booth, the Millar Presidential Gallery displays a portrait and original hand-signed letter from each U.S. President, George Washington through Donald Trump. Supplementing the permanent collection are several temporary galleries, hosting 10 to 12 exhibitions per year.
In addition to “Seeing America’s Story” in our galleries, visitors can experience American heritage through several annual events, plus lectures, programing, and exhibition openings. Each February the For the Love of Art Gala Weekend features live and silent art auctions generating funds needed to help support the Museum’s mission. Every March the Southeastern Cowboy Gathering features traditional Cowboy food, music and poetry. October brings the Southeastern Cowboy Festival & Symposium with Native American dancing, gun fight reenactments, art history lectures, a Western marketplace and much more. The museum also welcomes visiting artists and scholars to speak at twice monthly lectures and exhibition openings throughout the year.
Hugh Adsett, Ambassador, Permanent Representative of Canada to the OAS
Date: May 3, 2023
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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