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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.
October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.
Henri de Toulouse-Lautrec - French, 1864 - 1901
Marcelle Lender Dancing the Bolero in "Chilpéric", 1895-1896
West Building, Main Floor — Gallery 80
We look slightly down onto a stage, at a woman who dances at the center of this square painting. The pale, white skin on her face is tinged with slate-blue shadows and heightened noticeably with pink blush at the cheekbones. She wears crimson-red lipstick and her dark brown eyebrows are peaked over blue eyes. Two flaring pink flowers, each about the size of the woman’s face, are pinned in the woman’s flame-red hair. The black bodice of her dress has puffed, elbow-length sleeves and a low-cut square neckline. The lime-green skirt flares around her dancing feet to billow up and reveal layers of bubblegum pink underneath. Her body is angled to our left as she points her left, black-stockinged foot and holds her arms by her sides. Behind her, thirteen people dressed in sapphire-blue, ocean-green, and black costumes suggest a royal court, including a dark-haired man who wears a brick-red bolero style suit. He stands near the woman to our right, watching her dance.
Henri de Toulouse-Lautrec had a passion for the theater in all its forms, from the popular dance halls and cabarets to the avant-garde theaters of Paris. He was both a keen spectator and an active participant, designing posters, theater programs, scenery, and costumes for a number of theaters and stage productions. Although he was drawn to the spectacle of the performance, it was the performers who most fascinated him.
Among Toulouse-Lautrec's favorite subjects was the red-headed actress Marcelle Lender. He first encountered her in 1893, the year he began to attend the theater on a regular basis. His infatuation with her reached its peak two years later when she starred in the revival of the French librettist and composer Hervé's Chilpéric. Performed at the Théâtre des Variétés in Paris from February 1 to May 1, 1895, this comic operetta recounted the tale of Chilpéric, king of the Franks in the late sixth century. In a bid to consolidate his power, he allied himself with the Visigoths in Spain through a marriage to the princess Galeswinthe, even as his vengeful mistress Frédégonde plotted her murder. It was neither the melodramatic narrative nor the extravagant staging of the operetta that most appealed to Toulouse-Lautrec, however, but the actress in the role of the princess. Like all his "furias" (as the artist termed his fixations on certain performers), this one was brief but intense. During the operetta's three-month run, he attended it more than twenty times, arriving just to see Lender dance the bolero in the second act. When asked about his devotion to the play, Toulouse-Lautrec explained, "I come strictly in order to see Lender's back. Look carefully; you will seldom see anything as wonderful. Lender's back is sumptuous." He sketched and studied the actress diligently, ultimately producing six lithographs inspired by her appearance in Chilpéric (five of them of the performance itself) and two paintings, including this monumental canvas. Toulouse-Lautrec's admiration was not reciprocated. "What a horrible man!," Lender is said to have remarked. "He is very fond of me….But as for the portrait you can have it!"
One of the largest and most elaborate paintings Toulouse-Lautrec ever created, Marcelle Lender Dancing the Bolero in "Chilpéric" depicts the very scene the artist so enjoyed, in which Galeswinthe performs the bolero, a lively dance from her native Spain, for her future husband and his courtiers. She dominates the center of the composition. Dressed in a Spanish-inspired costume composed of black and bright complementary shades of red and green, her body is described in strong, sinuous lines. Toulouse-Lautrec's portrayal of the actress is both dynamic and sensual. He captures her at mid-movement, as one long leg, clad in black stockings, juts boldly outward from a swirl of pink petticoats, mimicking the silk flowers she wears in her hair in form and color. Her low-cut bodice accentuates her ample bosom, which is tinged green from the reflected glow of the footlights. All eyes are upon her as she dances, from King _Chilpéric, seated on his throne at left, to Galeswinthe's brother, Don Nervoso, who stands, arms akimbo, at the far right. Gazing at her from behind with an expression of open appreciation, it is Don Nervoso and not the viewer who is the beneficiary of the fine view of Lender's back, and as such he may be a stand-in for the artist himself.
________________________________
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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This window is hidden in plain sight...I'm sure 90% of the people who work on the street have never looked up and seen it. While the permanent waving is no longer available..there really should be a mannequin in the window waving permanently.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o acompanhamento da crise hídrica na Região do Vale do São Francisco e no reservatório da barragem de Sobradinho.
Em pronunciamento, diretor da área de irrigação da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Napoleão Casado.
Mesa:
presidente do Conselho de Administração do Distrito de Irrigação Nilo Coelho (Dinc), Amauri José Bezerra da Silva;
diretor-presidente da Agência Nacional de Águas (ANA), Vicente Andreu Guillo;
presidente eventual, senador Fernando Bezerra Coelho (sem partido-PE);
presidente da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Antônio Avelino Rocha de Neiva;
diretor de Operação da Companhia Hidro Elétrica do São Francisco (Chesf), João Henrique de Araujo Franklin Neto;
assistente da Diretoria Geral do Operador Nacional do Sistema Elétrico (ONS), Fernando José Carvalho de França
Foto: Jefferson Rudy/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) promove Audiência pública interativa apresenta relatório sobre a população penitenciária feminina e debate violência contra as mulheres presas. Logo após, apresentação do relatório de avaliação de políticas públicas e apreciação de requerimentos.
Em pronunciamento, Christiane de Souza Yared (PR/PR).
Foto: Roberto Castello
Permanent installation by Jean-Michel Othoniel at the Métro Palais Royal - Musée du Louvre, Place Colette, Paris
ILO Introductory Briefing for Permanent Missions, 7 October 2024, Geneva, Switzerland. Photo: Alioune NDiaye/ILO
Allies Day, May 1917, 1917
Childe Hassam
West Building, Main Floor — Gallery 70
This painting commemorates the nation’s entry into World War I in spring 1917. Childe Hassam shows Fifth Avenue in New York City decorated with red, white, and blue flags. It had been declared “the Avenue of the Allies” in honor of the military alliance between the United States, Great Britain, and France.
This is part of a series of flag images in which Hassam used brilliant sunlight and color in the style of the French impressionists. The breezy, celebratory air glosses over the horrors of modern warfare that American soldiers would face fighting in Europe.
We look beyond a cluster of flags hanging from the side of one tall building onto a wide street at a row of buildings across from us in this vertical painting. The scene is loosely painted with visible brushstrokes, so some details are difficult to make out. We seem to lean out a window to look along the street, so the building to our right only skims the edge of the composition and continues off the top. The three flags closest to us fly from nearly horizontal flagstaffs along the bottom edge of the painting. All the flags are in shades of scarlet red, white, and royal blue. The flag closest to us is red with the red, white, and blue Union Jack in the upper corner. Beyond it is an American flag with 49 stars, and then the French flag with the vertical bands of blue, white, and red. Those three flags are repeated about a dozen times along the building that stretches away from us, along the right edge of the painting. More of those flags are hung from the cream-white and tan buildings across the street, to our left. Some of those buildings reach off the top edge of the canvas and others come close. The shadows along moldings and the windows are painted with pale and lapis blue. Through narrow gaps left between the fluttering flags, vertical strokes of navy blue and violet purple suggest crowds of people in the street below. The sky between the buildings is ice blue. The artist signed and dated the painting in the center left, “Childe Hassam May 17 1917.”
A patriotic whirlwind overtook mid–town Manhattan as America entered the First World War in the spring of 1917. On Fifth Avenue, the British Union Jack, the French Tricolor, and Stars and Stripes were displayed prominently during parades honoring America's allies. The colorful pageantry inspired Childe Hassam, who dedicated this picture "to the coming together of [our] three peoples in the fight for democracy." Hassam's flag paintings were first shown as a group in New York's Durand–Ruel Gallery in November 1918, just four days after the armistice was declared. Thus, the works, originally created to herald America's entry into the war, also served to commemorate its victorious resolution.
Hassam had studied in Paris from 1886–1889 and was strongly influenced by the impressionists. In many respects, Allies Day resembles the vibrant boulevard paintings of Monet and Pissarro. Like these contemporary French artists, Haassam selected a high vantage point overlooking a crowded urban thoroughfare to achieve an illusion of dramatic spatial recession. But, rather than using daubs of shimmering pigment to dissolve form, he applied fluid parallel paint strokes to create an architectonic patterning. Although he shared the impressionists' interest in bright colors, broken brushwork, and modern themes, Hassam's overall approach was less theoretical and his pictorial forms remained far more substantial than those of his European contemporaries.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 283-287, which is available as a free PDF.
Frederick Childe Hassam (he later discontinued the use of his first name) was born on October 17, 1859 in Dorchester, Massachusetts. His ancestors had come from England to America, with the original family name Horsham, in the seventeenth century. In 1876 he was apprenticed to a local wood-engraver and soon thereafter became a free-lance illustrator. In the evenings he attended the life class at the Boston Art Club, then briefly studied anatomy with William Rimmer (1816-1879) at the Lowell Institute, and took private lessons from the German-born painter Ignaz Gaugengigl (1855-1932).
In 1883 Hassam and his friend, the painter Edmund H. Garrett (1853-1929), traveled to Great Britain, Holland, Spain, and Italy, where Hassam produced a large number of watercolors that were exhibited at Williams & Everett Gallery in Boston later that year. Once home, in 1884, Hassam married Kathleen Maude Doane and lived in Boston until the spring of 1886 when the couple left for Europe. In Paris, Hassam studied figure painting with Gustave Boulanger (1824-1890) and Jules Lefebvre (1836-1911) at the Academie Julian, and exhibited his work at the Salons of 1887 and 1888. When they returned to the United States in 1889 the artist and his wife settled in New York. Hassam subsequently assisted in founding the New York Watercolor Club and joined the Pastel Society of New York. He also began to exhibit with the Society of American Artists, with whom he remained until withdrawing in 1897 as a founder of the group that would become known as The Ten.
During the 1890s and the following two decades Hassam spent his summers painting in locations throughout New England, such as Gloucester, Massachusetts; Cos Cob, Connecticut; and Newport, Rhode Island. His favorite settings, however, were Old Lyme, Connecticut, and Appledore, on the Isles of Shoals, off the coast of New Hampshire, where he produced some of his best known images. After 1920 the Hassams' permanent summer home became East Hampton, Long Island. A prolific and industrious artist, Hassam produced numerous scenes of both the city and the countryside. Many of his early street scenes of Boston, Paris, and New York, with their reflections of wet pavement or of gaslight on the snow, evidenced a wonderful talent for capturing the effects of light and atmosphere. While he recorded nearly all aspects of busy city life, he seldom focused on the seamier subjects that often attracted painters of the Ash Can School.
Throughout his career Hassam won numerous awards and prizes and earned the serious attention of the American collectors George A. Hearn, John Gellatly, and Charles Freer. His work was widely exhibited at established museums throughout the country. In the 1913 Armory Show Hassam was represented by six paintings, five pastels, and a drawing. About 1915 he began to turn in his efforts to printmaking, producing etchings and drypoints at first, and lithographs about two years later. By 1933 a catalogue raisonné of his intaglio prints identified 376 different plates. Toward the end of his life Hassam most often exhibited graphic works. The quality of his paintings, in the meantime, became increasingly uneven.
Of the American artists called impressionists, Childe Hassam was among those whose work most closely followed that of their French colleagues. Although Hassam was not a novice, but already a practicing artist when he began to study in Paris, it is apparent that he soon absorbed aspects of the avant-garde styles of that time and place. (Hassam himself chose to minimize his connection to the art of France, indicating that he was influenced, if at all, by the plein-air prototypes of nineteenth century English painters such as Constable, Turner, and Bonington, perhaps in recognition of his own national origins.) By the time Hassam turned wholly to impressionism, the style had been introduced into the United States for several years and the bright colors and broken brushwork of his images found a ready audience.
Despite his bewilderment concerning some of the changes in contemporary art toward the end of his life, Hassam continued to express faith in the future of American art. Shortly before his death, in East Hampton in August 1935, he arranged to bequeath all the paintings remaining in his studio to the American Academy of Arts and Letters. According to his wish these were sold to establish a fund for the purchase of American works which were then presented to museums.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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From left to right:
Colin Granderson, Ambassador, Head of the former OAS-CARICOM Electoral Observation Mission to Haiti
José Miguel Insulza, OAS Secretary General
Gillian M.S. Bristol, Chair of the OAS Permanent Council and Permanent Representative of the Grenada to the OAS
Date: May 25, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para debater participação na COP-24, tratar da agenda do parlamento e implementação do Acordo do Clima pelo Brasil.
Mesa:
subsecretário-geral de Meio Ambiente, Energia, Ciência e Tecnologia do Ministério das Relações Exteriores, embaixador José Antônio Marcondes de Carvalho;
relator da CMMC, senador Jorge Viana (PT-AC);
secretário de Mudança do Clima e Florestas do Ministério do Meio Ambiente (MMA), Thiago de Araújo Mendes.
Foto: Roque de Sá/Agência Senado
Fase de Arpa, Canto y Música de Cámara del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que ha tenido lugar los días 18 a 20 de noviembre´11 en Ciutadella de Menorca (Islas Baleares, Spain)
Toda la información en la web de Juventudes Musicales de España, o en la página de Joventuts Musicals de Ciutadella.
Álbum Concurso Permanente de Jóvenes Intérpretes JJMMEspaña – Ciutadella de Menorca - Noviembre´11
A Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião para apresentação de resumo das atividades de 2015 e lançamento da revista da comissão.
Mesa E/D:
presidente da CMCVM, senadora Simone Tebet (PMDB-MS);
vice-presidente da CMCVM, deputada Keiko Ota (PSB-SP).
Foto: Jefferson Rudy/Agência Senado
From left to right:
Sebastián Eugenio Kraljevich Chadwick, Ambassador, Permanent Representative of Chile to the OAS
Hugh Adsett, Ambassador, Permanent Representative of Canada to the OAS
Date: August 17, 2022
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
From left to right:
Hubert J. Charles, Ambassador, Permanent Representative of Dominica to the OAS
Edgar Ugalde Álvarez, Ambassador, Permanent Representative of Costa Rica to the OAS
José Luis Ramirez, Minister Plenipotentiary, Alternate Representative of Colombia to the OAS
Date: March 8, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa destinada ao lançamento da publicação do Seminário "12 anos da Lei Maria da Penha", realizado em dezembro de 2018.
Mesa:
professora da Universidade de São Paulo e coordenadora do Centro de Estudos em Direito e Desigualdades da Faculdade de Direito de Ribeirão Preto da Universidade de São Paulo (FDRP/USP), Fabiana Cristina Severi;
promotora de justiça do Ministério Público do Rio Grande do Norte, Érica Verícia Canuto de Oliveira;
presidente da CMCVM, senadora Zenaide Maia (Pros-RN);
subprocuradora-geral da República e professora da Universidade de Brasília (UnB), Ela Wiecko de Castilho;
conselheira do Conselho Nacional de Justiça, presidente da Comissão Permanente de Políticas de Prevenção às Vítimas de Violências, Testemunhas e de Vulneráveis, Maria Cristiana Ziuova.
Foto: Waldemir Barreto/Agência Senado
Mémoire2cité 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. 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 transports
Lieux : 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...
The Permanent Heads and World Council of the International Chamber of Commerce held meetings on 29 May in Paris during ICC’s centenary celebrations.
A Subcomissão Permanente de Avaliação do Sistema Tributário Nacional, que integra a Comissão de Assuntos Econômicos (CAE), realiza audiência pública para debater o tema: Sistema tributário brasileiro - Competitividade externa.
Mesa E/D:
Luis Felipe de Barros Reche, assessor da Área de Administração Aduaneira da Secretaria da Receita Federal do Brasil;
Sr. João Hamilton Rech, coordenador de Tributos sobre a Produção e Comércio Exterior da Secretaria da Receita Federal do Brasil;
Senador José Pimentel (PT-CE), vice-presidente da Subcomissão Permanente de Avaliação do Sistema Tributário Nacional;
Sr. Roberto Giannetti da Fonseca, diretor titular do Departamento de Relações Internacionais e Comércio Exterior da Federação das Indústrias do Estrado de São Paulo.
Foto: Geraldo Magela/Agência Senado
This Kmart opened sometime in the 1970s (I think) and closed permanently on Sunday, April 27, 2014, with its liquidation beginning on Sunday, February 9, 2014.
My third visit during its liquidation (and 4th overall) was on Friday, March 28, exactly 2 weeks after the previous visit on March 14. As a result, I did not know what the discounts were on the week between the 14th and 28th, but what I do know know is that they were between at least 20%-40% and 25%-50%.
At this point, whole sections of shelves were empty and were being blocked off by caution tape. I even got to see how they disassembled the shelves, since they were actively doing so at the time of my visit.
Kmart #9611 - W Main St - Xenia, Ohio
Edward Hicks - American, 1780 - 1849
The Cornell Farm, 1848
West Building, Main Floor — Gallery 63
Cows, horses, sheep, and pigs stand closely together in a band across the bottom edge of this horizontal painting. Rolling hills open onto grassy lawns, farms, and fields beyond. The two dozen cows spanning the leftmost two-thirds of the painting are cream white, tawny, russet, or dark brown, or speckled with brown or black and white. White sheep, six adult and one baby, cluster beyond the cows, to our left. Five black pigs are behind the cows across the middle of the picture, one of them suckling several piglets. Nine horses and foals gathered to our right are white, gray, or one of several shades of brown. The land on which the animals stand is teal blue underfoot. Pale green, grassy plots rise gently to either side of a trough or irrigation ditch that comes toward us from a culvert at the far side of the field. Eight men wearing tall hats, coats, and pants gather in pairs beyond the animals, and one man, farther in the distance, walks alone. The grassy lawn is hemmed to each side by fences, and more run across the back of the space. A man walks behind a horse-drawn plow to our right. There is a line of five spindly trees in front of the fence to our left. Three cows lie in that enclosure not far from one more tree. Several buildings painted with cream white and barn red line the plots across the back of the space. Beyond, painted lightly, as if hazy, lines of crops or trees blur into the horizon, which comes about two-thirds of the way up the composition. The sky above is pale petal pink, and it deepens to icy blue across the top edge. A couple bunches of white and tan-colored clouds drift to our right. Brown lettering against a sand-colored ground along the bottom edge reads, “An Indian summer view of the Farm & Stock of James C. Cornell of Northampton Bucks county Pennsylvania. Tat took the Premium in the Agricultural society, october the 12, 1848 Painted by E. Hicks in the 69th year of his age.” The name James C. Cornell is in all caps, and October begins with a lowercase o.
Edward Hicks, having apprenticed to a Pennsylvania coachmaker at thirteen, became a minister in 1811. He was torn between his calling as a Quaker minister and his love of painting, worrying that his art kept him from "the Lord's work."
Hicks precisely identified this subject with a long inscription along the bottom of the canvas: "An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age." Though the punctuation and capitalization are inconsistent, the quality of the lettering proves that Edward Hicks was schooled in sign painting.
Having no background in academic art, Hicks employed the direct approach of a primitive or folk painter. The horizontal band of livestock across the foreground, although childlike in its simplicity, clearly presents each prize-winning animal as an individual portrait. Hicks' delight in creating ornamental pattern is evident in the arrangement of fences, while the rich red and bright white of the house and barn symmetrically flank this central landscape. Although the stark silhouettes of figures and buildings seem naive, Hicks softly blended his paints over the orchard to give the impression of space existing well beyond what the eye can see.
More information on this painting can be found in the Gallery publication American Naive Paintings, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Edward Hicks was born in 1780 in Attleborough (now Langhorne), Pennsylvania, into a family that had suffered severe financial losses during the Revolution. After Edward's mother died in 1781, he was raised by a Quaker family named Twining.
Hicks apparently had no scholarly interests and at the age of thirteen was apprenticed to the Tomlinson brothers, coachmakers in Attleborough. This marked the beginning of his training as an artisan. This apprenticeship furnished him with the technical skills he would apply to the easel paintings he executed fairly late in his life. Hicks briefly set up his own business in 1800 but closed it to help a Northampton, Pennsylvania, doctor build a new kind of carriage. Religious discussions with this employer increased Hicks' awareness of his Quaker roots. After a severe illness, his lively character became more introspective, and he began attending Quaker meetings.
Hicks moved to Milford (now Hulmeville), Pennsylvania, in 1801 to work for another coachmaker and painter; two years later he married Sarah Worstall, a childhood friend, with whom he had four children. Hicks at this time was painting signs, furniture, coaches, lettering, and floor cloths, but he became increasingly interested in the Quaker ministry. He set out on the first of his many preaching trips in 1811, the same year he moved his family to Newtown, Pennsylvania. His sermons reportedly attracted crowds, and he was described as one of the most popular and leading ministers of his time. From this point on his religious interest would dominate his life. Nonetheless, he continued painting, which he described as "one of those trifling insignificant arts" and principally a way to "get an honest living." He briefly left the painting trade for farming in 1813 but had returned to it by 1815, when he began to produce elaborate signs with the help of several assistants.
In 1820 Hicks visited his cousin Elias Hicks, a principal figure in the theological rift that split the Quakers in 1827. Edward joined his cousin's Hicksite movement and remained a passionate defender of its tenets. Several of his paintings reveal how profoundly this controversy affected the artist's life. Elias Hicks appears in all of the canvases, and two of them include a verbal allusion to Hicksite doctrine.
Hicks' religious concerns, however strong in the 1830s, did not totally eclipse his artistic life. While he continued to paint variations on the Quaker theme of peace and brotherly love throughout his life, as exemplified by his more than sixty versions of the Peaceable Kingdom, he also apparently offered artistic instruction. Hicks reportedly taught his younger cousin Thomas Hicks, and the Bucks County Intelligencer in 1864 reported that, as a youth, the academic painter Martin Johnson Heade was "placed under the instruction of Edward Hicks...to be taught the art of painting."
The paintings from the 1840s, the last decade of Hicks' life, are considered his best and include the National Gallery's The Grave of William Penn (1980.62.12), The Cornell Farm (1964.23.4) and later Peaceable Kingdoms. Edward Hicks died 23 August 1849.
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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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Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para tratar sobre o PLC 43/2018, que dispõe sobre o prazo para tratamento de neoplasia maligna.
À mesa, defensor público-geral federal, Gabriel Faria Oliveira.
Foto: Jefferson Rudy/Agência Senado
Brasília 21 10 2021- Palestra do Fórum Permanente de Auditoria do Poder Judiciário – Edição 2021 (Paulo Grassiotin Auditor Fiscal do TCU).
Fotos:G.Dettmar/Ag.CNJ
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Mesa:
presidente do Conselho de Administração do Distrito de Irrigação Nilo Coelho (Dinc), Amauri José Bezerra da Silva;
diretor-presidente da Agência Nacional de Águas (ANA), Vicente Andreu Guillo;
presidente eventual, senador Fernando Bezerra Coelho (sem partido-PE);
presidente da Companhia de Desenvolvimento dos Vales do São Francisco e do Parnaíba (Codevasf), Antônio Avelino Rocha de Neiva;
diretor de Operação da Companhia Hidro Elétrica do São Francisco (Chesf), João Henrique de Araujo Franklin Neto;
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Foto: Jefferson Rudy/Agência Senado
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base (CEEEFCB) realiza segunda audiência pública interativa sobre o "Plano Nacional de Esporte".
Mesa:
presidente da Confederação Brasileira do Desporto Escolar (CBDE), Antônio Hora Filho;
representante do Ministério da Defesa, general de divisão Jorge Antonio Smicelato;
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
secretário especial do Esporte do Ministério da Cidadania, Décio dos Santos Brasil;
representante da Confederação Brasileira de Desportos de Surdos (CBDS), Deborah Dias de Souza.
Foto: Geraldo Magela/Agência Senado
Carmen Lomellin, Ambassador, Permanent Representative of the United States to the OAS
Date: March 15, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.
permanent ink, Acrilic paint and oil bar on wood./ Tinta permanente, tinta acrílica e bastão oleoso sobre madeira.
2011
Derma-pigmentation hair by hair (eyebrows) by GloriaPelo www.gloriapelo.com www.gloriapelobrides.com