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Jean François de Troy - French, 1679 - 1752
The Abduction of Europa, 1716
West Building, Main Floor — Gallery 54
A bare-chested, blond woman sits sideways on a muscular, large, white bull, who charges into an ocean while three women look on in this horizontal painting. All the people have pale or peachy skin and rosy cheeks. The bull is being pulled to our left by a winged, nude, baby-like putto wading into the water. The putto has pudgy arms, a round tummy, and short, blond, curly hair. He looks back over his shoulder and smiles as he reaches along a garland of leaves and flowers, used to pull the bull. The bull turns his head to look over our left shoulder with bright, golden eyes. His front legs plunge into the azure-blue water. Rings of flowers encircle his short, steel-gray horns. The woman riding atop, Europa, leans across the bull’s neck and one hand clutches one of the bull’s horns. She looks and gestures with her other hand to the group behind the bull, to our right. Europa’s blond hair is woven with a deep pink ribbon. Her eyes are slitted as she looks down her nose, her pink lips open. Pale, shimmering yellow fabric covers her legs over sandaled feet. She sits on a rose-pink cloth that also billows up behind her. She wears two pearl bracelets on her gesturing hand. The three women looking on sit and stand near a tree trunk in a dense wooded area in the lower right quadrant of the painting. Their mouths are open, their hair bound, and they wear flowing robes of bronze orange, royal blue, lavender gray, or pale mint green. One woman has dark brown hair and sits with one elbow propped on a tree root. Her hands are clasped and she wears gold bracelets. Another woman leans across her lap, her arms outstretched toward Europa, her back to us. The third woman stands and leans in behind this pair, also reaching out toward Europa. A deeply shaded rocky ground stretches across the bottom of the canvas, and a leafy tree extends off the top right corner. Dense vegetation becomes lighter and hazier in the distance, to our right. A bright dot of cream white surrounded by coral peach on the ocean’s horizon suggests the sun. In the top half of the picture, towering puffy clouds rise against a topaz-blue sky.
This delightful painting by Jean-François de Troy, one of the leading painters in Paris in the first half of the 18th century, portrays the climactic moment from Ovid's story in Metamorphoses—the Abduction of Europa. Jupiter has transformed himself into a handsome bull to lure the lovely princess Europa onto his back and carry her away to Crete where she would bear him three sons. From Rembrandt to Claude Lorrain to Paul Gauguin, this seminal story captured the imagination of European artists for centuries.
Painted in rich colors with the light, refined brush characteristic of the works of de Troy's fellow members of the Académie Royale de Peinture et de Sculpture, Antoine Watteau and FranÃ\u0083§ois Boucher, this painting offers a classical mythological subject in a rococo style that gracefully compliments the National Gallery's collection. De Troy studied with his father, François de Troy, professor and then director of the Académie. In 1699, he traveled to Italy, spending most of his time in Rome copying the masterpieces of antiquity and Italian art. He returned to Paris in 1706, and two years later became a full-fledged member of the Académie. A prodigiously talented painter, he completed ambitious decorations in churches, palaces, and public buildings in Paris, Versailles, Fontainebleau, and Marseilles. In 1738, he was granted the prestigious post of director of the Académie de France in Rome, a position he retained until his death. Although he was officially a history painter, he worked successfully across genres, inventing what are known as tableaux de modes to rival and succeed Watteau's more mysterious and ambiguous fêtes galantes.
The present painting may have been inspired by what is perhaps the most famous iteration of the theme, Titian's Europa, 1560–1562 (Isabella Stewart Gardener Museum, Boston). The latter work was given by Philip V, king of Spain, to the French ambassador, the duc de Gramont, in 1704. Titian's painting subsequently passed into the possession of the duc d'Orléans, with whose collection, on permanent display at the Palais Royal in Paris, de Troy was thoroughly conversant. Smaller in scale and less tragic in tone, de Troy's painting illustrates the same moment in the story and displays a similarly lush palette and dramatic drapery. The probable pendant to The Abduction of Europa, a representation of Cupid and Psyche, is signed and dated 1716, thus placing our picture within a period early in the artist's career during which he specialized in cabinet-sized pictures of erotically charged mythological subjects.
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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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________________________________
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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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
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
Microblading VS Permanent Makeup
We get this question a lot. What exactly is the difference between microblading and permanent makeup? It’s an understandable and expected question for those interested in microblading to ask. After all, microblading is a fairly new form of s...
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Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião para discutir a violência estrutural sofrida pelas mulheres.
Mesa:
professora da Universidade de Brasília (UnB), autora da pesquisa "Pequena memória para um tempo sem memória: violências e resistências entre mulheres do Serviço Social na Ditadura civil-militar de 1964-1985", Maria Elaene Rodrigues Alves;
professora da Universidade Federal do Amazonas, autora da pesquisa "O começo do fim do mundo: a violência contra as mulheres e a construção da Usina Hidrelétrica de Belo Monte", Milena Fernandes Barroso;
presidente eventual da CMCVM, deputada Luizianne Lins (PT-CE);
professora da Universidade de Brasília (UnB), autora da pesquisa "O que se faz quando há violência? A política de assistência social no combate à violência intrafamiliar", Priscilla Maia de Andrade.
Foto: Marcos Oliveira/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
Jacek Bylica, IAEA Chief of Cabinet, welcomes Ambassador Harold Adlai Agyeman, Ambassador and Permanent Representative to the United Nations and Chair-Designate, 3rd NPT Prep Com, and his delegation upon their arrival to the Agency headquarters in Vienna, Austria. 15 January 2025.
Photo Credit: Dean Calma / IAEA
Delegation:
Ambassador Harold Adlai Agyeman
Ambassador Matilda Osei-Agyeman
Deputy PR Paul Nanasei Osei
IAEA:
Rafael Mariano Grossi, IAEA Director-General
Jacek Bylica, IAEA Chief of Cabinet
Mariela Fogante, Special Assistant to the DG for Management
Diego Candano Laris, Senior Advisor to the Director-General
Nuno Luzio, IAEA External Relations Officer, Director General Office
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.
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
Reunião da Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM).
Apresentação da pesquisa sobre violência doméstica e familiar contra a mulher.
Mesa:
senadora Simone Tebet (PMDB-MS);
presidente do Senado Federal, senador Renan Calheiros (PMDB-AL).
Foto: Jonas Pereira/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.
twitter.com/Memoire2cite - - Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Structure Couleurs d'une cité provençale en 1975 extrait du film Bâtir mieux plus vite et moins cher @ le BTP en 1975, l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant...Une nouvelle cité provençale ... dai.ly/xyjudq Jacques Tati & la villa Arpel @ le film "mon Oncle"
www.ina.fr/video/R09119655 TURQUIE - Cette ville fantôme a pourrait servir de tournage à un film d'horreur. La commune de Mudurnu, au nord de la Turquie, compte des centaines de répliques de châteaux français tous à l'abandon www.youtube.com/watch?v=qGML4Ej7muM … www.youtube.com/watch?v=U8cFGOnxns4 … Démolition Tour DEF mercredi 23 juin 2010 - Cité Balzac Création artistique autour de la démolition d'un bâtiment. Ce film a été réalisé par les équipes de Plug N' Prod. www.youtube.com/watch?v=L9A_lUN1TPU … 42 - SAINT-ETIENNE LOIRE - Le temps de l'urbanisme sur la Loire, en 1962, les vues des HLM de RHONE ALPES de PARIS & plus... en FILM içi www.dailymotion.com/video/xgj2zz Réalisation : Philippe Brunet
Saint-Etienne l' Extension Marandiniere 1957-59 architecte Jean Farat 42 St-Etienne LOIRE - la Marandiniere les espaces verts @ les 30 G & 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 ». www.dailymotion.com/video/xgj74q LE FILM 42 - Le temps de l'urbanisme sur la Loire, 1962, le FILM içi www.dailymotion.com/video/xgj2zz Réalisation : Philippe Brunet 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...
A winter friendly installation of a small 'camping' satellite dish to a dwelling where no permanent installation things can be done.
Arturo Vallarino, Chair of the OAS Permanent Council and Permanent Representative of Panama to the OAS
Date: May 24, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
El diálogo permanente entre entidades del sector, la fijación de compromisos institucionales, la adaptación al marco normativo colombiano del Índice de Pobreza Multidimensional (IPM) y la creación de instancias de articulación han permitido que Colombia sea un referente para la región en la implementación de este índice.
Así lo explicó el director encargado de Prosperidad Social, Nemesio Roys Garzón, durante su intervención en el panel de expertos que se realizó en el marco del seminario "Índice de pobreza multidimensional (IPM): su impacto en la política social", que tuvo lugar en la Universidad de los Andes, organizado por la Iniciativa de Pobreza y Desarrollo Humano de Oxford (OPHI), centro de investigación de la Universidad de Oxford.
"La medición del IPM Colombia en 2010 dio como resultado una incidencia del IPM del 30,4% a nivel nacional. A 2015, la proporción disminuyó a 20,2%", aseguró Roys Garzón.
El Director Encargado de Prosperidad Social, agregó que para implementar el IPM se tuvieron en cuenta diferentes aspectos como la revisión de las variables más utilizadas en otros indicadores, el marco normativo a partir de la Constitución Nacional, estudios sobre pobreza, los índices multidimensionales aplicados a Colombia (NBI, ICV, SISBEN III), los umbrales definidos por los Objetivos de Desarrollo del Milenio y la disponibilidad de información en una sola fuente estadística, es decir, la Encuestas de Calidad de Vida del DANE.
Desde que se adoptó el IPM como medida oficial en Colombia se crearon instancias de articulación como la Mesa para la reducción de la Pobreza, el Comité Ejecutivo de Directores, las mesas de trabajo asociadas al IPM y el Comité de expertos para la medición de pobreza. Como consecuencia de esto, se generaron alertas que llevaron al diseño de programas y estrategias para la población más necesitada. En el panel se destacó por ejemplo que en 2010, la Mesa de Pobreza generó alertas por las brechas entre pobres y no pobres multidimensionales en el logro educativo y el acceso a servicios para la primera infancia, lo cual llevó a la formulación de las estrategias de gratuidad escolar y de atención a la primera infancia "De Cero a Siempre".
"Posiblemente, el hito más importante en el proceso de implementación del IPM fue su incorporación en el Plan Nacional de Desarrollo 2014-2018, y la gran apropiación del Gobierno Nacional del lenguaje del IPM. De igual manera, la georreferenciación nos ha permitido mejorar la focalización de nuestros programas sociales, y dirigir la inversión a los lugares donde existen mayores privaciones", concluyó Roys Garzón.
En el panel de expertos que discutieron acerca de diferentes aspectos del IPM, estuvieron además Mauricio Perfetti, director general del DANE; el experto Roberto Angulo, representante OPHI y Luis Fernando Mejía, subdirector sectorial de Planeación Nacional. La moderación estuvo a cargo de Sabina Alkire, directora general OPHI.
El Seminario se adelantó en el marco del curso de verano que adelanta la iniciativa OPHI con funcionarios oficiales de 13 países de Centro América y Suramérica, para analizar el caso colombiano y revisar los indicadores de cada nación según su propia realidad y coyuntura. / Mar. 13, 2017. (Fotografía Oficial Prosperidad Social / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Departamento Administrativo para la Prosperidad Social está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Departamento Administrativo para la Prosperidad Social.
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A Comissão Permanente Mista de Combate à Violência Contra a Mulher realizou audiência pública para debater a violência contra a mulher no campo e na floresta. O objetivo é debater os reflexos do machismo e da misoginia que vitimam as mulheres que vivem e habitam no Brasil Profundo.
Participaram da mesa Ângela Mendes, representante do Conselho Nacional de Seringueiros, Beatriz Cruz da Silva, Assessora da Secretaria Nacional de Segurança Pública do Ministério da Justiça, Carliene dos Santos Oliveira, representante da Confederação Nacional dos Trabalhadores na Agricultura, Socorro Prado, representante do Movimento Articulado de Mulheres da Amazônia e Sonia Maria Coelho Gomes Orellana, representante da Marcha Mundial de Mulheres.
A Comissão também conta com a presença das Deputadas Carmem Zanotto e Maria do Rosário e da Senadora Regina Sousa.
"A gente vive num momento em que ser mulher virou um problema. Eu, filha de seringueiro, da floresta e sendo mulher tenho os mesmos direitos que qualquer um! Hoje trago pra essa Casa o nome de 3 mulheres que estão sendo ameaçadas, sendo uma delas liderança, por serem quem são. Não queremos mais viver assim"
Angela Mendes - Secretaria Nacional do Conselho Nacional de Seringueiros
Fotos: Mídia NINJA (CC-BY-SA 4.0)
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.
From left to right:
Bayney R. Karran, Chair of the OAS Permanent Council and Permanent Representative of the Guyana to the OAS
Arturo Corrales, Minister of Foreign Affairs of Honduras
Albert R. Ramdin, OAS Assistant Secretary General
Date: October 04, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Edward Hopper - American, 1882 - 1967
Ground Swell, 1939
West Building, Ground Floor — Gallery G6
A buoy and a sailboat with three men and a woman tip at an angle on rolling aquamarine and azure-blue waves in this horizontal painting. The white wooden boat sails away from us toward the right side of the composition. Its unfurled sail is tinged with taupe and pale blue and attached to a pale wooden mast. The boat has a low cabin with round portholes on the side we can see. Two of the men are shirtless, tanned, and have their backs to us. One sits in the cockpit wearing a white hat with a short brim as he holds the tiller. The other man stands on the deck with his arms crossed. Beyond the standing man, the woman lies along the roof of the cabin, her head at about the height of the man’s chest. She is barefoot and lies on her stomach wearing long, blue pants and a watermelon-pink halter top and matching kerchief covering her hair. The third man stands to her right, his slender body angled toward us while holding onto the mast with one hand and rigging with the other. The woman and third man have noticeably pale skin. A buoy near the boat is battleship-gray with streaks of rust along its base and a copper-green bell inside. It floats just to the left of and tips toward the boat on a rising swell. The scene is lit by bright sunlight coming from the left side of the baby-blue sky with bands of feathery clouds, which takes up the top two-thirds of the composition. The artist signed the lower right, “EDWARD HOPPER.”
Edward Hopper’s lifelong enthusiasm for the sea developed when he was a boy in Nyack, New York, then a prosperous Hudson River port with an active shipyard. Years later, in 1934, he and his wife built a house and studio in South Truro, Massachusetts, where he produced a number of oil paintings and watercolors manifesting his avid interest in nautical subjects.
Despite its bright palette and seemingly serene subject, Ground Swell echoes the themes of loneliness and escape typical of Hopper's oeuvre. The blue sky, sun-kissed figures, and vast rolling water strike a calm note in the picture; however, the visible disengagement of the figures from each other and their noticeable preoccupation with the bell buoy placed at the center of the canvas call into question this initial sense of serenity. The lone dark element in a sea of blues and whites, the buoy confronts the small catboat in the middle of an otherwise empty seascape. Its purpose, to emit a warning sound in advance of unseen or imminent danger, renders its presence in the picture ominous. The cirrus clouds in the blue sky—often harbingers of approaching storms—reinforce this sense of disturbance in the otherwise peaceful setting. Although Hopper resisted offering explanations of his paintings, the signs of impending danger here may also reference a more severe disturbance: during the time that Hopper worked on Ground Swell, from August to September 15, 1939, World War II broke out in Europe.
Edward Hopper was born in Nyack, New York, in 1882 to a middle-class family. After he graduated high school in 1899, his parents, though supportive of his artistic ambitions, encouraged him to pursue commercial illustration. He studied at the Correspondence School of Illustrating in New York City for a year before enrolling in classes at the New York School of Art in 1900, where he switched his focus to fine art. There, Hopper studied under William Merritt Chase (American, 1849 - 1916) and Robert Henri (American, 1865 - 1929), who encouraged their students to paint the everyday realities of the world around them. In 1906 he briefly worked part-time as an illustrator and then, over the next four years, made three extended trips to Paris and other European cities, where he was particularly influenced by the works of Edgar Degas (French, 1834 - 1917) and Edouard Manet (French, 1832 - 1883).
In 1910, Hopper moved to 3 Washington Square North in Greenwich Village, where he would live and work for the rest of his life (although from 1930 on he spent nearly every summer on Cape Cod and built a house in South Truro in 1934). For the next decade, as Hopper sought recognition from the art world, he continued to earn his living as an illustrator—work he disliked and would later attempt to conceal. During this period Hopper exhibited his paintings in a number of group shows in New York City, including the Exhibition of Independent Artists in 1910 and the 1913 Armory Show.
Hopper took up printmaking in 1915, and although he continued to paint in oil, it was the artist’s etchings that first achieved both critical and commercial success. It was also in this medium that Hopper developed a recognizable style in which ordinary places—motels, gas stations, restaurants—while realistically rendered, are pervaded with a sense of estrangement or loneliness. His human figures, if they appear at all, are solitary and pensive. In these etchings, and later paintings, mysterious moods are often reinforced through dramatic lighting, both natural and artificial. Both as a painter and a printmaker, Hopper used realism’s contemporary subject matter and structured compositions to explore the alienation and anxieties of modern life.
In 1923 six of Hopper’s watercolors were accepted to the Brooklyn Museum’s International Watercolor Exhibition, from which the museum purchased Mansard Roof (1923) for $100. The following year he gave up commercial work to paint full time and married Josephine “Jo” Verstille Nivison, a fellow pupil from Robert Henri’s class and herself an accomplished painter. Jo would prove indispensible to Hopper’s artistic success: not only did she pose for many of his female figures and encourage his work in watercolor, but she took over from her husband the task of keeping detailed records of his artistic production, including where works were shown and to whom they were sold, ultimately producing an impressive archive of Hopper’s long career.
Hopper’s success in both exhibiting and selling his work continued to grow. In 1927 his solo show of watercolors at the Frank K. Rehn Gallery in New York attracted favorable reviews and every work exhibited was sold (including one work to fellow artist George Bellows). During the '20s the artist also sold works to the Art Institute of Chicago, the Metropolitan Museum of Art, the Pennsylvania Academy of the Fine Arts, and to the collector Duncan Phillips. In 1930 his painting House by the Railroad (1925) was the first painting by any artist to enter the collection of the Museum of Modern Art (MoMA) in New York. Three years later, MoMA’s founding director, Alfred H. Barr Jr., organized a retrospective of the artist’s work at that museum, though some critics did not find Hopper’s realist style modern enough.
Throughout his career, Hopper was the subject of several more retrospective exhibitions and was chosen to represent the United States at the 1952 Venice Biennale. Though some critics at midcentury failed to see the abstract structures underlying Hopper’s realism and dismissed his work as “illustrative,” by the 1960s a new generation of artists working in pop art and photorealism claimed him as an important influence on their work. The artist and his wife both died in New York, only ten months apart.
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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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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
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para tratar sobre o Formulário Nacional de Risco e de Proteção à Vida (Frida).
Mesa:
vice-presidente da CMCVM, deputada Elcione Barbalho (MDB-PA);
presidente da CMCVM, senadora Zenaide Maia (Pros-RN);
membro do Conselho Nacional do Ministério Público, autor e coordenador do FRIDA, juiz federal Valter Shuenquener de Araújo.
Foto: Jefferson Rudy/Agência Senado
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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Mickalene Thomas, born Camden, NJ 1971
Portrait of Mnonja, 2010, rhinestones, acrylic, and enamel on wood panel, 96 x 120 in.
Mickalene Thomas covered the surface of Portrait of Mnonja with sparkling rhinestones that adorn the reclining figure's clothing, makeup, and high-heeled shoes. The colorful plastic gems are not usually found on paintings or in museums, but they are at the heart of Thomas's art.
Although she first started working with rhinestones because they were inexpensive, Thomas finds them to be the ideal material to represent the Black women who are her subjects. She loves to use an element of women's crafts that is often dismissed as unimportant.
In Mnonja, the straightforward appeal of the stones emphasizes the sitter's powerful presence and sensuality. "Beauty has always been an element of discussion for Black women," Thomas explains, "whether or not we were the ones having the conversation."
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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steel, stainless steel, powder coat paint
Installed: 2009
Location: Tennessee Riverpark
Funding: Purchased with private funds/Gift from Charles Yost
This sculpture by Chicago, Illinois artist Charles Yost was part of the 2009 Mid-South Sculpture Alliance Outdoor Exhibition. The artist generously donated the work to the City of Chattanooga in 2010.
The work of Charles Yost embodies both geometric and organic elements. The artist states, “Throughout my creative life, I have been interested in observing and equating both geometric and machine-like forms in functional use as they interact visually and aesthetically. In this respect, curvilinear, organic-like forms juxtaposed with the harder-edged forms compliment a ‘georganic’ visual concept. Color is added where the emphasis on whimsy dictates.” Yost's dynamic sculptures encourage the viewer to interact with them.
A Comissão Permanente de Economia reunida, esta segunda-feira, para analisar os argumentos expostos no pedido de fiscalização preventiva das normas constantes do nº1 e do nº2 do artº 43º do Decreto nº24/2013 da Assembleia Legislativa da Região Autónoma dos Açores requerido por S. Exª o Representante da República deliberou, por unanimidade, o seguinte:
A alteração ao Regime de Remuneração Complementar, aprovada em sede de Orçamento, pela Assembleia Legislativa da Região Autónoma dos Açores, enquadra-se nas competências plasmadas no Estatuto Político Administrativo e está conforme os princípios e os preceitos constitucionais.
De facto – e ao contrário dos argumentos aduzidos pelo Senhor Representante da República – o Regime de Remuneração Complementar está enunciado no quadro das matérias da competência legislativa regional, designadamente na alínea f, do artigo 67º, do Estatuto Político-Administrativo da Região Autónoma dos Açores, que, recorde-se, é uma Lei de Valor Reforçado aprovada pela Assembleia da República. Com efeito, resulta claro que o Regime de Remuneração Complementar Regional cumpre, cumulativamente, com os princípios enunciados em matéria de competência da Assembleia Legislativa da Região Autónoma dos Açores, respeitando, integralmente, o espírito e a letra da Lei Fundamental. Ou seja, a 5ª alteração ao Regime da Remuneração Complementar Regional tem âmbito regional e não viola nenhuma das normas que definem a reserva de competência dos órgãos de soberania. Não colhe, por isso, a interpretação constitucional do Senhor Representante da República que, a este propósito, extravasa, de modo flagrante, o corpo da Lei Fundamental no que concerne quer à Reserva Soberana da Assembleia da República quer na tentativa de limitar, sem fundamentação, as competências e as atribuições que estão consagradas no Estatuto Político Administrativo da Região Autónoma dos Açores.
Aliás, convém recordar que não existe qualquer inovação estrutural na quinta alteração ao Regime da Remuneração Complementar aprovada, em sede do Orçamento da Região. Ou seja, a alteração à Remuneração Complementar Regional visa atenuar os efeitos dos sobrecustos da insularidade, cuja existência é reconhecida unanimemente no plano nacional, bem como o facto dos contribuintes açorianos serem os únicos no País a serem abrangidos, em 2014, por um agravamento fiscal, decorrente da última alteração à Lei de Finanças Regionais.
Importa, ainda, referir que, ao contrário do que argumenta o Senhor Representante da República, não existe, com a aplicação das normas cuja fiscalização foi suscitada, qualquer acréscimo de Despesa no Orçamento da Região. Com efeito, e considerando o somatório das despesas com Pessoal da Administração Pública Regional e dos Fundos e Serviços Autónomos, verifica-se, no Orçamento para 2014, uma redução total de 3.948.499 euros face ao ano anterior. Não é, pois, verdade que a Remuneração Complementar Regional implique qualquer aumento de Despesa com Pessoal.
De igual modo, a invocação de uma pretensa violação do princípio da Unidade do Estado não faz qualquer sentido, uma vez que a própria doutrina constitucional reconhece que a própria natureza do Regime Autonómico Insular, tipificada na Constituição da República Portuguesa, não se enquadra no conceito de um Estado Unitário clássico ou centralizado. Quer isto significar que não há qualquer violação do Princípio da unidade do Estado, uma vez que é a própria Constituição da República que determina e valoriza quer a existência da Autonomia Política Administrativa quer o princípio da Autonomia Orçamental que a esta está associado. Na verdade, a Autonomia Orçamental da RAA apenas se relaciona com o Orçamento do Estado na medida em que este fixa o montante de transferências para cada Região e também os limites de endividamento regional. Ora, a alteração ao Regime de Remuneração Complementar não concorre nem para o montante das transferências do Orçamento do Estado como também não altera o limite fixado para o endividamento regional.
Quanto a uma pretensa violação do Princípio da Solidariedade, o pedido de fiscalização preventiva do Senhor Representante da República parece esquecer que não só a Região não tem contribuído para o défice do Estado como, nos últimos anos, tem visto reduzidas as verbas transferidas pela República para o Orçamento Regional. Aliás, a Região não só tem vindo a cumprir com os objetivos da política económica e orçamental a que está obrigada pelo princípio da solidariedade nacional, como não se tem furtado a suprir insuficiências do Estado no exercício das suas funções na Região, indo para além da reciprocidade do Princípio da Solidariedade Nacional, num esforço, aliás, que não lhe é exigível.
Quanto a uma violação do Princípio da Igualdade, entende a Comissão de Economia, em sintonia com o entendimento generalizado da doutrina e da jurisprudência, que este preceito não se compadece com as ideias igualitaristas vertidas na argumentação do Senhor Representante da República. Ou seja, não há qualquer violação do princípio da Igualdade, uma vez que a Remuneração Complementar Regional se alicerça, conforme afirma o próprio Representante da República, na “correção das desigualdades fatuais carecidas de correção no confronto com o restante território nacional”.
Em suma, o inédito pedido de Fiscalização Preventiva da Constitucionalidade de duas normas do Orçamento da Região, constitui, no entender da Comissão Permanente de Economia da Assembleia Legislativa da Região Autónoma dos Açores, uma visão desconforme com o Regime de Autonomia Insular consagrado na Constituição da República Portuguesa. Além disso, considera a Comissão que as normas em causa não só não violam os princípios da Unidade do Estado, da Igualdade e da Solidariedade como os reforçam, dando força à expressão e afirmação da Autonomia e dos seus fins.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza seminário destinado a discutir e avaliar a Lei Maria da Penha. Evento integrante da programação dos 16 dias de ativismo pelo fim da violência contra a mulher.
Mesa:
representante do Consórcio Nacional de ONG’s Feministas, Silvia Pimentel;
relatora da Lei Maria da Penha no Senado Federal, senadora Lúcia Vânia (PSB-GO);
procuradora Especial da Mulher no Senado, senadora Vanessa Grazziotin (PCdoB-AM);
presidenta da Comissão Parlamentar Mista de Inquérito da Violência Contra a Mulher da Câmara dos Deputados, deputada Jô Moraes (PCdoB-MG).
Foto: Edilson Rodrigues/Agência Senado
Espaço Grenat.
O novo empreendimento para eventos em São João Del Rei é o Espaço Grenat, conta com ampla infraestrutura para aperfeiçoar a sua festa, os destaques, é uma ampla área que comporta até 200 pessoas, podendo sediar seminários, palestras, reuniões de diretoria, confraternizações e diversos tipos de eventos sociais.
A nova casa conta com 263 metros quadrados, situada na área de preservação permanente da arquitetura colonial do centro histórico de São João Del Rei. As salas de eventos são distribuídas em dois ambientes, com composições variadas. Para a realização dos encontros, o empreendimento dispõe, também, de profissionais especializados para assessorar os clientes. No primeiro piso um amplo salão e um mezanino, além de modernos equipamentos audiovisuais, cozinha industrial e instalações sanitárias para atender aos deficientes, ideal para coquetéis e coffee breaks.
O Espaço Grenat é uma casa de luxo, localizado em área nobre da cidade: Rua Marechal Bittencourt, nº 46 centro histórico de São João Del Rei.
O endereço faz parte da Historia sanjoanese.
Quando surgem relatos sobre São João Del Rei do início do século passado, há a indicação de um polo boêmio no centro da cidade. E o coração desse reduto bêbado, musical e promíscuo foi a Rua da Cachaça. Ali, se reuniam em cabarés e bares homens de todas as idades e classes sociais: dos mais pobres aos intelectuais ricos. Hoje, esse símbolo histórico não existe mais, mas o cenário é outro. A Rua da Cachaça hoje Marechal Bittencurt do século XXI é ponto de cultura, abrigando em seus casarios preservados do inicio do século XX: Memoriais, Centro Feminino, comercio de produtos e serviços turísticos e é contemplada hoje com a inauguração do Espaço Grenat.
"Para exemplificar a antiguidade da rua e do seu nome original, num testamento com termo de abertura em 21 de setembro de 1779, Ana de Oliveira, uma negra forra, declarou que morava à Rua da Cachaça, que era viúva sem filhos e que deixaria libertos os escravos Manoel e Maria, os quais instituíram como herdeiros.
The new permanent exhibition hall, set amongst the hangars at Royal Air Force Museum Cosford, tells the story of the Cold War, from national, international, social/political as well as cultural perspectives. It includes static exhibits, interactive kiosks, suspended aircraft, split-level viewing and ‘Hot-Spot’ theatres. The dynamic exhibits range from military hardware, to pop-culture icons. Postcards sent across the borders of Berlin, film posters, album covers and toys, as well as life size Russian dolls are set between tanks, submarine models and aircraft such as The American F-111; The ex-Soviet Bloc MiG21 and Britain’s three V-Bombers: Vulcan, Victor and Valiant