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From the Doors Open description: "Officially opened on April 7, 1930, the Canada Permanent Building is located in the heart of Toronto's financial district. It was constructed at the beginning of the Depression, but the use of materials and sense of craftsmanship is very apparent. F. Hilton Wilkes' design for the skyscraper was influenced by classical architecture. Of particular note in the Corinthian columns are the Canadian symbols of wheat sheaves and fleurs-de-lys. The grand Romanesque entrance is magnificent with its coffered vault flanked by fluted pilasters. The Banking Hall was restored to its former grandeur by CIBC Mellon between May and December 2001. Recent additions include the chandeliers, designed as replicas of the originals. Their circular design is Art Deco, another gesture of the Art Deco style of the building."
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa sobre o seguinte tema: "Desafios e perspectivas de implementação das indicações da Contribuição Nacionalmente Determinada (NDC) sobre energia: biocombustíveis e matriz de energia elétrica."
À mesa, gerente de Relações Governamentais da União da Indústria de Cana-de-Açúcar (Unica), Ludmilla Cabral.
Foto: Marcos Oliveira/Agência Senado
Reunião da Comissão Permanente Mista de Combate à Violência contra a Mulher
Finalidade: Apresentar o Programa Ronda Maria da Penha e debater soluções para o combate da violência doméstica.
Foto: Roberto Castello
This video effectively addresses problems arising out of high blood pressure. The essence of the pranayamas, yoga asanas, acupressure and home remedies for t… Video Rating: 4 / 5
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Allan Culham, Ambassador, Permanent Representative of Canada to the OAS
Date: June 12, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Montecito Malibu Meander RUSA Permanent #388 Control #3 Hows Trancas Market, PCH & Trancas Canyon, Malibu
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
Bernard Debré, Député de Paris, en discussion avec Jean-Pierre Lecoq, Maire du 6e arrondissement (de dos sur la photo) ©Francis Verna
Walter Albán Peralta, Ambassador, Permanent Representative of Peru to the OAS
Date: March 01, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/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
Holy Cross Church in Wilmington, NC installed 5,880 sq ft sanctuary space with classrooms and fellowship mall area in our modular building.
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
Senadora Mara Gabrilli, eleita relatora da Comissão Mista Permanente sobre Migrações Internacionais e Refugiados
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
Pauta:.
Mudanças Climáticas - A Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) promove audiência para discutir as ações para alcançar os objetivos estabelecidos pela Política Nacional sobre Mudanças de Clima, entre outros temas..
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Mesa E/D:.
Representante do ministério da Ciência, Tecnologia e Inovação, José Antonio Marengo Orsini, chefe do Centro de Ciência do Sistema Terrestre do INPE;.
Deputado Alfredo Sirkis, vice-presidente da CMMC;.
Senador Sergio Souza (PMDB-PR), presidente da CMMC;.
Representante do ministério do Meio Ambiente, Eduardo Delgado Assad, secretário de mudanças climáticas e qualidade ambiental.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved .
Portrait of a Lady - 1676
Nicolaes Maes
Dutch, 1634 - 1693
Nicolaes Maes, one of the foremost portrait painters of the second half of the seventeenth century, began his career as a painter of religious subjects and genre scenes. These early works reflect the influence of Rembrandt van Rijn (1606–1669), with whom he studied in Amsterdam between 1646 and 1653. Maes’ shift to portraiture occurred only after his return to his native city of Dordrecht in late 1653. Adopting the refined style of Anthony van Dyck (1599–1641), Maes soon began to create elegant portraits of Dutch burghers dressed in fashionable clothing that reflected their wealth and status. In search of a greater pool of patrons, he returned to Amsterdam in 1673.
Maes has portrayed this unknown matron in a rather formal pose and with a neutral expression, but he softened and enlivened her image with the loose brushwork and vibrant reds of her shimmering gown. The double strand of pearls, emblems of virtue, and her sumptuous earrings proclaim the woman’s prosperity. The broad handling, a hallmark of Maes’ style, owes much to Van Dyck’s manner of painting, but rather than idealizing the sitter as Van Dyck would have done, Maes faithfully renders her countenance. The heavy gold curtain, used as a backdrop, is another reference to material wealth, while the large column and the arcadian landscape in the distance lend the whole scene a classical air.
Maes was born in Dordrecht in January 1634, the son of a well-to-do soap manufacturer and merchant. The details and dates of his early career are not precisely known, but Houbraken tells us that Maes’ first instruction in drawing came from “an ordinary master” (een gemeen Meester), probably a local artist in Dordrecht. At some point in the late 1640s, however, he went to Amsterdam and studied with Rembrandt van Rijn, becoming one of that master’s most accomplished pupils.
By the end of 1653, Maes was back in Dordrecht, where he was betrothed on December 28 to Adriana Brouwers, the widow of a preacher. They were married there on January 13, 1654, and had three children (one of whom died young). The influence of Rembrandt, and specifically the style and subject matter of his work of the 1640s, continued in Maes’ work after his return to Dordrecht. This impact is especially apparent in the case of his drawings, which are often difficult to distinguish with certainty from those of Rembrandt. Maes produced almost all of his small-scale paintings of domestic interiors during the mid-1650s, one of the two types of picture for which he is best known.
By 1656 Maes began painting portraits, and he eventually worked exclusively as a fashionable portrait painter. He sought to infuse his depictions of Dutch merchants with an elegance comparable to that found in paintings by Rubens, Peter Paul, Sir and Dyck, Anthony van, Sir, and Houbraken relates that Maes actually traveled to Antwerp to study the works of Flemish masters. His own portraits, however, always retained a more literal likeness of the sitter than did those of Van Dyck.
Houbraken attributed the stylistic changes evident in Maes’ painting during the 1660s to market pressure, saying that Maes abandoned Rembrandt’s way of painting “when he took up portraiture and discovered that young ladies would rather be painted in white than in brown.”[1] At this time, Maes not only altered his style but also completely changed his signature from block letters to a more elegant form. Were it not for the existence of transitional paintings signed in the earlier manner but showing signs of the artist’s later style, one might well conclude that the late portraits were executed by an entirely different N. Maes.
In 1673 Maes moved to Amsterdam, where he died in December 1693.
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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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14-21 November, 2013. Pamela Branas, Micheal Graham, Sophie Hague, Sharon Kitching, Lena Obergfell, Cathy Weiszmann
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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.
La familia Salvador Flores ha donado un total de 32 maquetas de modelismo naval al Ayuntamiento de Roquetas para que sean expuestas de forma permanente en el Castillo de Santa Ana. Concretamente, el Torreón del Homenaje de dicho Castillo acoge estas maquetas en una muestra denominada Proa al modelismo naval.
Un total de 17 de las 32 piezas que ha donado al pueblo de Roquetas fueron construidas por él, el resto forman parte de la colección personal de Silverio Salvador. Piezas tan importantes como el Normando, el Schooner construidas a finales de los años sesenta, o el Mayflower que llevó a los peregrinos a América en el año 1620 y que fueron los que celebraron el primer día de Acción de Gracias en Estados Unidos.
Hay que destacar el H.M.S. Victory inacabado y que tiene un puesto destacado en la primera planta de la exposición, fue la última que estaba construyendo su padre y que no terminó, por lo que se ha expuesto juntamente con las herramientas que suele utilizar un maquetista simulando su mesa de trabajo, sin grandes medios pero con ganas de hacer bien las cosas.
La muestra está integrada por piezas de barcos históricos a escala y alude a importantes acontecimientos bélicos, comerciales o de otra índole y sus elementos están construidos con la máxima calidad en sus materiales: maderas nobles en casco, cubiertas y mástiles y metal en cañones y ornamentos y reproducen, a escala, navíos de época estadounidenses y europeos fechados entre los siglos XI al XX.
Veinte de las maquetas donadas a Roquetas de Mar las ha tenido durante algún tiempo en una casa en Barcelona, el resto lo tenía en Roquetas. Una de las piezas que se exponen en el Torreón del Castillo de Santa Ana es el buque escuela Juan Sebastián Elcano. La pieza recrea el buque en los años 60.
The Booth’s permanent collection covers more than a dozen galleries, showcasing legendary artists such as Frederic Remington and Charles Russell to contemporary masters Howard Terpning and Andy Warhol. Unique to the Booth, the Millar Presidential Gallery displays a portrait and original hand-signed letter from each U.S. President, George Washington through Donald Trump. Supplementing the permanent collection are several temporary galleries, hosting 10 to 12 exhibitions per year.
In addition to “Seeing America’s Story” in our galleries, visitors can experience American heritage through several annual events, plus lectures, programing, and exhibition openings. Each February the For the Love of Art Gala Weekend features live and silent art auctions generating funds needed to help support the Museum’s mission. Every March the Southeastern Cowboy Gathering features traditional Cowboy food, music and poetry. October brings the Southeastern Cowboy Festival & Symposium with Native American dancing, gun fight reenactments, art history lectures, a Western marketplace and much more. The museum also welcomes visiting artists and scholars to speak at twice monthly lectures and exhibition openings throughout the year.