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Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) promove audiência pública para apresentar o "Programa de Capacitação para Enfrentamento da Violência contra Mulheres e Meninas", projeto da Fundação Demócrito Rocha.
Mesa:
presidente eventual da CMCVM, senadora Jussara Lima (PSD-PI);
presidente da CMCVM, senadora Augusta Brito (PT-CE);
diretora de Projetos Especiais da Fundação Demócrito Rocha, Valéria Xavier.
Foto: Edilson Rodrigues/Agência Senado
Meeting between EU Officials Ms. Myrian Ferran, Deputy Director-General, Directorate-General of International Partnerships (DG INTPA), and Mr. Gunnar Wiegand, EU Senior Official for ASEAN-EU Relations and Managing Director, Asia Pacific, European External Action Service (EEAS) and the Committee of Permanent Representatives to ASEAN
Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya
Bernard Debré, Député de Paris, en discussion avec Jean-Pierre Lecoq, Maire du 6e arrondissement (de dos sur la photo) ©Francis Verna
Tomada de posse do Presidente do Conselho Científico, Membros da Comissão Permanente e dos Membros designados pelas Unidades de Investigação do ISCTE-IUL, teve lugar na sala de atos do ISCTE-IUL, a 24 de fevereiro de 2017. Fotografia de Hugo Alexandre Cruz.
Déplacement du ministre Jean-Michel Blanquer , pour deux permanences ministérielles, en Gironde (Lormont et St-Martin-Lacaussade), le lundi 8 juillet 2019 - ©Philippe DEVERNAY.
Comparecencia del secretario de Hacienda" "Ernesto Cordero Arroyo" "ante la Comisión Permanente del Congreso de la Unión. Participación de diputados priistas
A Pier Overlooking Dordrecht - early 1640s
Aelbert Cuyp
Artist, Dutch, 1620 - 1691
This luminous painting depicts Aelbert Cuyp’s native Dordrecht from the west, as seen from a pier near the village of Zwijndrecht, situated on the opposite bank of the river Maas. The three small, wooden, fishing skiffs tied up at the rough-hewn pier help give the painting its rustic charm. Across the Maas rise Dordrecht’s city walls, with the thin spire of the Groothoofdspoort, a major gateway to the inner harbor, appearing prominently at the left. Sailboats or rowboats provided constant ferry transportation across the river to Dordrecht’s neighboring villages.
Cuyp’s numerous views of river life are extremely varied and demonstrate a remarkable sensitivity to the changing light and water conditions encountered on inland waterways. He could comfortably set boats in the water, even as he visually contrasted water’s translucent and changing surface with the physical presence of heavy wooden hulls and weighty canvas sails. Cuyp’s pictorial sensitivities were also directed toward the activities of humans and animals in and around the water; they added visual and thematic interest to the inherent beauty of his river scenes.
Aelbert Cuyp, one of the foremost Dutch land-scape painters of the seventeenth century, was born in Dordrecht in October of 1620. His father, Jacob Gerritsz Cuyp (1594–1652), was a successful por-trait painter in the city, and from him Aelbert received his earliest training, assisting his father by painting landscape backgrounds for por-trait commissions. It is uncertain whether Cuyp had also apprenticed with a landscape painter, but he soon abandoned his father’s style and subject matter and turned almost exclusively to landscapes and river-scapes, painting only an occasional portrait in his mature period. Arnold Houbraken, a native of Dordrecht, noted that Cuyp was a man of “irreproachable character” (onbesproken leven), and the surviving documents concern his active involvement in the Dutch Reformed Church and the city affairs of Dordrecht, rather than his activities as a painter. His marriage to Cornelia Boschman (1617–1689), the wealthy widow of Johan van den Corput (1609–1650), a representa-tive to the admiralty at Middelburg and a member of an important Dordrecht family, took place on July 30, 1658. After his marriage, Cuyp appears to have painted less frequently, probably owing to a combi-nation of his increased church activity and the ab-sence of financial pressures. He was buried in the Augustinian Church at Dordrecht on November 15, 1691.
Houbraken commented that only the artist’s own works were found in his home at the time of his death, proof that nature alone served as his model. The stylistic evolution of his oeuvre, however, dis-proves Houbraken’s conclusion. Cuyp’s early landscapes are clearly inspired by the compositional ap-proach and monochromatic palette of Goyen, Jan van, but by the middle of the 1640s, the influence of the Utrecht painter Both, Jan be-comes apparent. Cuyp never lived in Utrecht, but probably his parents had met there while his father was studying, and Aelbert apparently visited the city regularly. By the mid-1640s Both had re-turned from Italy, bringing with him a new style employing the contre-jour effects associated with the work of Lorrain, Claude. Cuyp soon recognized the possibilities of this new compositional approach and began to employ large foreground elements in his panoramic scenes, infusing them with a warm light and atmosphere. The occasional classical motif and Italianate lighting effects that are found in Cuyp’s mature works are not the result of a trip to Italy but of his association with Both, and perhaps other Italianate landscape painters he may have had contact with in Utrecht. Although no documents related to his travels exist, Cuyp’s drawn landscapes and townscapes do indicate that he traveled within the Netherlands and along the lower Rhine in Germany.
Cuyp seems to have worked for a number of important Dordrecht families. He was clearly an important artist in the city, although little is known about the organization or production of a workshop. Houbraken mentions only one pupil, Barent van Calraet (1649–1737), whose brother Abraham van Calraet (1642–1722), if not a pupil of Cuyp, was certainly a follower. It appears that many of Abraham van Calraet’s works were among those mistaken for au-tograph Cuyp paintings by the beginning of the twentieth century, when Hofstede de Groot included more than eight hundred entries in his catalogue raisonné of the master. By the late eighteenth century, Cuyp had many other followers and imitators, including Jacob van Strij (1756–1815).
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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María Roquebert León, Ambassador, Permanent Representative of Panama to the OAS
Date: April 27, 2022
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
Fort Smith helped guard the "Permanent Indian Frontier." As it turns out, "permanent" lasted from 1834 until the Mexican-American War (1846-48).
The date of 1907 here refers to Oklahoma's statehood.
Minutos antes de comenzar la Sesión Permanente de este miércoles, con mi amigo el Senador Pablo Gómez
14-21 November, 2013. Pamela Branas, Micheal Graham, Sophie Hague, Sharon Kitching, Lena Obergfell, Cathy Weiszmann
International Permanent Court of Arbitration, Russia, in 2013, of Greenpeace Netherlands flag 'Arctic Sunrise' seized the ship was fined grounds. Arbitration court of Russian Greenpeace "Arctic Sunrise" while the vessel was ruled that the detainees had violated the international law establishes. The resolution emphasized the protesters' actions can not be considered as piracy. The amount of damages to be determined later Russia will have to pay. Greenpeace Netherlands court on behalf of the applicant, had demanded compensation of around 7 million euros. Greenpeace welcomed the decision was announced. Faizan Oulahs of Greenpeace activists who "seized the ship knew it was illegal. The court decision was confirmed," he said.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para apresentação do Projeto do Fórum Brasileiro de Mudanças Climáticas.
Em destaque, o pesquisador Coope/UFRJ/FBMC, William Wills.
Foto: Edilson Rodrigues/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza reunião para eleição do presidente, do vice e do relator.
Em pronunciamento, relator da CMMC, senador Jorge Viana (PT-AC).
Foto: Roque de Sá/Agência Senado
$65.00 - Permanent Flower Arrangement *** AVAILABLE FOR SHIPPING *** www.genesbeaverfloral.com- This vertical square embossed metal container holds a holiday- winter grouping of glittered sparkling red hydrangeas, faux red apples, gold glittered branches, and permanent winter greens that says happy holidays through the season and looks great until late winter arrives.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial para apresentação do relatório final de atividades.
À mesa, relator da CMMIR, deputado Túlio Gadêlha (PDT-PE).
Foto: Geraldo Magela/Agência Senado
Monsignor Juan Antonio Cruz Serrano, Permanent Observer of the Holy See to the OAS
Date: May 18, 2022
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
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
Temptation grows like a flower, don’t it?
You get a thought about something, and man, it just rises up in your mind.
You think, you think, you think….
Yeah, we can make this happen.
It’ll be a quick little score.
In and out. Nothin’ too it.
Until…
Yeah, there’s something to it.
Something you didn’t plan on.
The nobody who walks in, wantin’ to be hero.
That other alarm.
The engine that won’t turn over,
Leaving you banging your palms on the wheel in frustration.
Next thing you know…
You’re standing in this shotgun shack behind jagged glass, iron pulled…
Waiting to see what happens next,
Hopin’, whatever it is, it ain’t good and permanent.
Yeah, temptation grows alright…..
Like a weed.
© Mark V. Krajnak 2012 | All Rights Reserved
1.
Comparecencia de la Presidenta del Gobierno de Aragón, a solicitud de los diputados del G.P. Socialista en la Diputación Permanente, para explicar la actuaciones e informes realizados por el Gobierno de Aragón ante la Sentencia 13/2015, de 5 de febrero, del Tribunal Constitucional, respecto a cualquier propuesta de obra hidráulica o de transferencia de aguas que afecte a Aragón, y a la vista de la posición política del Grupo Popular en el Congreso de los Diputados en relación con el Proyecto de Ley de montes, que viene a ser contraria al fallo de dicha Sentencia.
2.
Comparecencia de la Consejera de Educación, Universidad, Cultura y Deporte, a solicitud de los diputados del G.P. Socialista en la Diputación Permanente, para informar sobre la decisión de implantar en la Universidad San Jorge los grados de Magisterio en Educación Infantil y Primaria, en perjuicio de los campus universitarios de Huesca y Teruel.
Joaquín Maza, Ambassador, Permanent Representative of El Salvador to the OAS
Date: March 20, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Gilad Erdan (at podium), Permanent Representative of Israel to the United Nations, briefs reporters after the closed Security Council meeting on the situation in the Middle East, including the Palestinian question.
UN Photo/Paulo Filgueiras
8 October 2023
New York, United States of America
Photo # UN71006509