View allAll Photos Tagged permanent
Get 50% discount on your first permanent tattoo at The Tattoo Point. To get even more exciting offers on Tattoo design stay tuned on our website or simply visit our Tattoo Studio in Mumbai. Call at +91-98929-33814 ✯ 50% Discount ✯ No Pain Tattoo Design ✯ Modern Tattoo
H.E. Mrs Susannah Gordon, Permanent Representative of New Zealand to the OPCW, and Ambassador Fernando Arias, OPCW Director-General, during a ceremony to formalise New Zealand's contribution of over €20,000 to the OPCW Trust Fund for Syria Missions. The ceremony took place at OPCW Headquarters in The Hague, the Netherlands, on 24 January 2025.
Joaquín Maza, Ambassador, Permanent Representative of El Salvador to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
From left to right:
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Date: March 13, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
I WEBINÁRIO DA COMISSÃO PERMANENTE DE POLÍTICAS SOCIAIS E DE DESENVOLVIMENTO DO CIDADÃO.
Drª. Luciana Yuki Sorrentino
Foto: Gil Ferreira/Agência CNJ
Thornton Dial, Sr.,Born Emelle, AL 1928-
died McCalla, AL 2016
The Beginning of Life in the Yellow Jungle, 2003, plastic soda bottles, doll, clothing, bedding, wire, found metal, rubber glove, turtle shell, artificial flowers, Splash Zone compound, enamel, and spray paint on canvas on wood, 75 x 112 x 13 in.,
"When I start making something, I gather up the pieces I want to work with," Thornton Dial once explained. "Everything I pick up be something that done did somebody some good in their lifetime. . . . When you make things beautiful out of another person's ideas, it make the world more beautiful."
Dial mastered the art of speaking through objects--he gathered, combined, and painted them to create artworks that ask us to look closely and think carefully. Here, he invokes a jungle landscape, a place where survival can be hard. In Dial's junglescape, wild and urban realms are indistinguishable: plastic cups and bottles are plants, rubber gloves and rags are vines. The entire scene is conjured from something found, repurposed, and reimagined.
Thornton Dial was born into a sharecropping family in rural Alabama, on the eve of the Great Depression. He experienced the trauma and tumult of both Jim Crow segregation and the civil rights movement. Profoundly influenced by Dr. Martin Luther King Jr., Dial used art to confront issues of racial oppression in the United States, developing an allegorical style that was abstracted but narrative, conveying concerns both personal and universal. His large, bold works, with incisive titles and themes of race and class, captivated the art world through sophisticated content and an aesthetic that defied stereotypes of “folk.” Dial bridged the worlds of Black vernacular self-taught artists and the contemporary mainstream. He was a conduit between nineteenth-century-born artists like Bill Traylor; African American quilters who had, for too long, gone unrecognized as artists; and a younger generation of Black creatives seeking a way forward.
Dial lived to see his work acquired by some of the most revered museums in the United States and became relevant to the mainstream art world in unprecedented ways. As the art world increasingly embraced him, Dial used his voice to raise serious questions about its long-standing hierarchies and inequities. He became emblematic of a shifting southern landscape in the late twentieth and early twenty-first centuries—as the deeply rooted vision of Black Americans revealed its tremendous power.
(We Are Made of Stories: Self-Taught Artists in the Robson Family Collection, 2022)
Across nine decades in Alabama, Dial experienced racism and oppression firsthand, but he discovered that he could speak freely through artmaking. Dial's critiques of race relations were often somber, dark in color and mood. Yet here, warm hues shower the day in optimism; polarized divisions of black and white give way to a sunny palette of possibility.
____________________________________
"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
..
Feuerwehrtore Besprayung am Lendplatz durch Permanent Unit
03.05.2010
copyright by: sabine.hoffmann@hotmail.coms
Brasília 09 06 2021 - 1ª Reunião - Fórum de Discussão Permanente de Gestão da Carreira dos Servidores do Poder Judiciário da União(Cons. Luis Fernando Bandeira de Melo).
Fotos:G.Dettmar/Ag.CNJ
H.E. Mr Neilas Tankevicius, Permanent Representative of the Republic of Lithuania to the OPCW, and Ambassador Fernando Arias, OPCW Director-General, formalise Lithuania’s voluntary contribution to support the OPCW's assistance activities.
Permanent Makeup plays the Hold Tight House, Tampa, FLA on December 2, 2012.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Rafael Mariano Grossi, IAEA Director-General, met with HE Mr. Bagiire Vincent Waiswa, Permanent Secretary, Ministry of Foreign Affairs of the Republic of Uganda, during his official visit to the Agency headquarters in Vienna, Austria. 21 July 2025.
Photo Credit: Dean Calma / IAEA
Copyright ©IAEA Images
Delegation:
HE Mr. Bagiire Vincent Waiswa, Permanent Secretary, Ministry of Foreign Affairs of the Republic of Uganda
HE Mr. Stephen Mubiru, Resident Representative of Uganda to the IAEA
Ambassador Dora Kutesa
Ms. Isabella Nakalema
Mr. Anthony Agama
Ms. Anne Nabaasa Baguma
Mr. Vanisseril Jose Excel
IAEA:
Rafael Mariano Grossi, IAEA Director-General
Diego Candano Laris, Senior Advisor to the Director-General
Ruzanna Harman, IAEA Chief of Protocol
Damiano Beleffi, Permanent Representative of the Republic of San Marino to the United Nations, walks to the podium to address the general debate of the General Assembly’s seventy-eighth session.
UN Photo/Cia Pak
26 September 2023
New York, United States of America
Photo # UN71005255
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial.
Após ser adiada no último dia 31 de agosto, o Congresso promove, nesta terça-feira (14), a instalação e eleição do seu presidente e vice-presidente.
À mesa, vice-presidente da CMMIR, deputada Bruna Furlan (PSDB-SP).
Foto: Roque de Sá/Agência Senado
John Singleton Copley - American, 1738 - 1815
Watson and the Shark, 1778
West Building, Main Floor — Gallery 60-B
We look onto the side of a rowboat crowded with nine men trying to save a pale, nude young man who flails in the water in front of us as a shark approaches, mouth agape, from our right in this horizontal painting. In the water, the man floats with his chest facing the sky, his right arm overhead and the other stretched out by his side. Extending to our left, his left leg is bent and the right leg is straight, disappearing below the knee. His long blond hair swirls in the water and he arches his back, his wide-open eyes looking toward the shark behind him. To our right, the shark rolls up out of the water with its gaping jaws showing rows of pointed teeth. In the boat, eight of the men have light or tanned complexions, and one man has dark brown skin. The man with brown skin stands at the back center of the boat, and he holds one end of a rope, which falls across the boat and around the upper arm of the man in the water. Another man stands at the stern of the boat, to our right, poised with a long, hooked harpoon over the side of the boat, ready to strike the shark. His long dark hair blows back and he wears a navy-blue jacket with brass buttons, white breeches, blue stockings, and his shoes have silver buckles. Two other men wearing white shirts with blousy sleeves lean over the side of the boat, bracing each other as they reach toward the man in the water. An older, balding man holds the shirt and body of one of this pair and looks on, his mouth open. The other men hold long oars and look into the water with furrowed brows. The tip of a shark’s tail slices through the water to our right of the boat, near the right edge of the canvas. Along the horizon line, which comes three-quarters of the way up the composition, buildings and tall spires line the harbor. The masts of boats at port creates a row of crosses against the light blue sky. Steely gray clouds sweep across the upper left corner of the canvas and the sky lightens to pale, butter yellow at the horizon.
Watson and the Shark's exhibition at the Royal Academy in 1778 generated a sensation, partly because such a grisly subject was an absolute novelty. In 1749, 14–year–old Brook Watson had been attacked by a shark while swimming in Havana Harbor. Copley's pictorial account of the traumatic ordeal shows nine seamen rushing to help the boy, while the bloody water proves he has just lost his right foot. To lend equal believability to the setting Copley, who had never visited the Caribbean, consulted maps and prints of Cuba.
The rescuers' anxious expressions and actions reveal both concern for their thrashing companion and a growing awareness of their own peril. Time stands still as the viewer is forced to ponder Watson's fate. Miraculously, he was saved from almost certain death and went on to become a successful British merchant and politician.
Although Copley underscored the scene's tension and immediacy, the seemingly spontaneous poses actually were based on art historical precedents. The harpooner's pose, for example, recalls Raphael's altarpiece of the Archangel Michael using a spear to drive Satan out of heaven. The oil painting's enormous acclaim ensured Copley's appointment to the prestigious Royal Academy, and he earned a fortune selling engravings of its design.
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 54-71, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
John Singleton Copley was born in Boston in 1738, and grew up there, training in the visual arts under his step-father Peter Pelham (c. 1697-1751), an English engraver who had immigrated in 1727 and married Copley's widowed mother in 1748. Copley's earliest paintings, from the mid-1750s, reveal the influence of English mezzotint portraits as well as the work of local and itinerant artists. He experimented with many media: oil on canvas, miniatures on copper or ivory, pastel, and printmaking. By the late 1750s he was established as a portrait painter.
Copley worked in Boston until 1774 with the exception of a six month painting trip to New York City in 1771. By the mid-1760s he wanted to compare his works with those by contemporaries in England, and in 1765 he sent a portrait of his half-brother Henry Pelham, Boy with a Squirrel, to the annual exhibition of the Society of Artists of Great Britain. Encouraged by Benjamin West and Joshua Reynolds, Copley left Boston for study in Europe. He left for London in 1774 and went almost immediately to Italy, where he spent more than a year, studying and painting. He returned to London in 1775, settling there with his wife and three of his children, who had come from Boston.
1776 marked the beginning of the second half of Copley's career. As his first work at the Royal Academy he exhibited The Copley Family, painted in 1777, followed by Watson and the Shark the next year. The success of these paintings brought him the praise of reviewers and earned him full membership in the academy. His ambition was to paint large history paintings of contemporary events, like those of Benjamin West, and he exhibited independently, charging admission, The Death of the Earl of Chatham (Tate Gallery), The Death of Major Pierson (Tate Gallery), and the Siege of Gibraltar (Guildhall Art Gallery, London). He also continued to paint portraits, many on a much larger scale than his American work. Copley died in London in 1815.
________________________________
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...
.
From left to right:
Takehiro Shimada, Ambassador, Permanent Observer of Japan to the OAS
Céline Giusti, Ambassador, Permanent Observer of France to the OAS
Susana Sumelzo Jordán, State Secretary for Ibero-America and the Caribbean and Spanish around the World, Ministry for Foreign Affairs, European Union and Cooperation of Spain
Lynn Raymond Young, Chair of the Permanent Council and Permanent Representative of Belize to the OAS
Date: December 5, 2024
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Jacques-Louis David - French, 1748 - 1825
Madame David, 1813
West Building, Main Floor — Gallery 56
Shown from the lap up, a woman with peachy skin, wearing a white silk dress and feathered headpiece, sits facing and looking at us in a harvest-yellow, upholstered chair in this vertical portrait painting. She has blue-gray eyes and a rounded, slightly pink nose. Her thin lips are closed and pulled back with shallow dimples at the corners of her mouth. Chestnut-brown ringlets frame her face and fall to her shoulders under a white hat or headband covered with curling, billowing white feathers. Light reflecting off the cloth of her high-waisted dress suggests it is silk or satin. It has a lace-lined square neckline and puffed short sleeves. She crosses her arms at the wrist and her hands rest in her lap, holding opposite forearms. A red shawl with silver and blue trim wraps over her left arm, on our right, and bunches up behind her against the yellow chair. The artist signed and dated the work in yellow paint against the dark background behind the woman: “L. David 1813.”
Jacques-Louis David was born in Paris in 1748, the son of an iron merchant who was killed in a duel (an unusual circumstance in his social class), when the boy was nine years old. His mother, Geneviève Buron, came of a family of builders and architects and was distantly related to the painter François Boucher (1703-1770). Under the guardianship of uncles on his mother's side, Louis received a sound classical education. His guardians wished to train him as an architect, but he insisted on being allowed to study painting. Following the advice of Boucher, he was placed in the studio of Joseph-Marie Vien (1716-1809), the leading promoter of the neoclassical reaction against the rococo. David's student work, strikingly rococo at first, was slow in adjusting to the ascendancy of classicism. He competed four times for the Rome Prize, beginning in 1771 with an awkward pastiche of Boucher (Battle between Mars and Minerva, Louvre); failing again in 1772 with Diana and Apollo Killing the Children of Niobe (lost), which enraged him to the point of threatening suicide; and still unsuccessful in his third try in 1773 (Death of Seneca, PetitPal). His fourth attempt, Antiochus and Stratonice (1774, Ecole des Beaux-Arts, Paris), finally won him the prize and gave the first indication of his turning to classicism. In Rome from 1775 to 1780, the overwhelming impression of the masters of the Italian High Renaissance and early baroque caused him to purge his work radically of all traces of the modern "French," that is, rococo, manner. A visit to Naples in 1779 completed his conversion. Belisarius Begging Alms (1780, Musée des Beaux Arts, Lille), begun in Rome but finished after David's return to Paris, sums up, in the calm grandeur of its composition and the subdued harmonies of its colors, the gains of his Italian stay. Reports of his talent had preceded him to Paris. The French Academy hastened to admit him with the rank of associate. At the Salon of 1781 the exhibition of his Italian canvases produced a strong impression on critics and public. His marriage in 1782 to Charlotte Pécoul, daughter of the supervisor of royal buildings, brought him influence and financial security. Sponsored by Vien, he was admitted to full academy membership the following year, offering as his reception piece Andromache Mourning Hector (Ecole des Beaux-Arts, Paris). With its antique weapons, furniture, and architectural ornaments, it was the most consciously "Greek" of his works to this time.
Awarded a royal commission to execute a painting on the subject of Horatius Defending His Son Before the People for the Salon of 1783, David delayed work on the project and, on his own responsibility, changed its subject to the Oath of the Horatii. Deciding that he could carry it out only in Rome, David traveled to Italy with financial help from his father-in-law and there finished the picture in eleven months. Exhibited at the Paris Salon of 1785, its Spartan severity excited general admiration and founded David's reputation as France's foremost painter. He followed this success with a private commission for the financier Trudaine, The Death of Socrates (The Metropolitan Museum of Art, New York), which won praise at the Salon of 1787. His entry in 1789, Brutus in the Atrium of His House, after the Execution of His Sons (Louvre), based on a play by Voltaire, was, like the Horatii, a royal commission, but its moral lesson--that family ties must yield to the demands of patriotism--was stated with an unyielding hardness that foretold the Terror.
Without professing any political ideology, David's pre-Revolutionary paintings merely celebrated civic virtue, but with a vehemence that later made them adaptable to partisan rhetoric. Though little is known of his opinions before 1789, there can be no doubt that he greeted the Revolution with enthusiasm and constantly supported its most radical causes. His political activity was at first confined to the Academy, in which he became the leader of a dissident faction of junior members. By enlisting the aid of the Commune of Paris, then of the National Assembly, and finally of the Jacobin Club, he managed to dismantle the privileges of the academy one by one and, as a member of the Committee of Public Instruction in 1793, obtained the decree that abolished it altogether. An admirer and friend of Robespierre,, he voted for the beheading of the king and the queen (January and October 1793) and briefly presided over the Convention. During his years of Revolutionary activity, he did not produce moralizing history paintings, such as might be expected from an artist-legislator. His first service to the Revolution was to commemorate the Oath in the Tennis Court at the request of a Jacobin club in 1790. His drawing (Louvre) of that crucial meeting of the Third Estate in an indoor tennis court at Versailles, exhibited at the Salon of 1791, was to have been executed in a large painting paid for by public subscription, but the scheme failed and the canvas remained unfinished. As the leading member of the Committee of Public Instruction, David was in fact, though not in title, Robespierre's minister of the arts, to whom it fell to plan the huge national pageants that were the Revolution's chief means of mass indoctrination. He designed their settings of artificial mountains, symbolic sculptures, and monumental altars, sketched the costumes and organized the ceremonial for the Translation of Voltaire's Ashes to the Pantheon (1791), the celebration of the Mutinous Swiss Guards (1792), the Festival of Brotherhood (1793), and the Feast of the Supreme Being (1794), and volunteered to paint the memorial portraits of the Revolution's "martyrs"--Lepelletier de Saint-Fargeau (1793, lost), Marat (1793, Musées Royaux, Brussels), and Barra (unfinished, Musée Calvet, Avignon).
When Robespierre fell in July 1794, David was denounced as "tyrant of the arts" and had to defend himself before the hostile Convention. Though he had earlier vowed, recalling Socrates, to "drink the hemlock" with his leader, he lost his nerve, lamely exculpated himself, and was spared the guillotine. Imprisoned for several months in 1794 and again in 1795, he was amnestied at the time of the establishment of the Directory. Feeling betrayed and blameless, he withdrew from the pitfalls of politics into the innocence of art: he felt the Revolution had distracted him from his true vocation, classical history painting. The years between Robespierre's fall (1794) and Bonaparte's rise (1799) were his interlude of artistic independence between two political engagements, a time to concentrate on matters of form and style.
While still in prison, his thoughts turned again to themes from antiquity. Among them he found one that was applicable to France's present situation, the Sabine Women Stopping the Battle between Romans and Sabiner (Louvre), a scene of reconciliation. The picture, which occupied him from 1795 to 1799, marked a change in his attitude toward classicism. His earlier paintings, he now believed, were too harshly "Roman" and too physical in their display of muscular anatomies. In the Sabines he aimed instead for "Greek" purity. He disposed its main figures in a wide frieze, stripped them bare, and defined their smooth and slender bodies with clean contours. He exploited this refined classical manner in portraits of fashion leaders of post-Revolutionary society, among them those of Mme Verninac (1799, Louvre) and Mme Récamier (1800, Louvre). Impoverished after years without adequate income, he made his peace with the new order. When the academy, which he had helped to abolish, was reestablished under a new name, he immediately became a member. At the same time, he organized his studio as a place of instruction through which in time some four hundred students passed, causing it to become, identified simply as "the French School," a dominant force in European art for several decades.
David first met Bonaparte in the winter of 1797 on the latter's return from his Italian victories. David was eager to ally himself with the hero of the hour, and Bonaparte, already preparing his ascent to power, sensed that the master propagandist might prove of future use. A life-size portrait was begun but remained unfinished. A closer relationship developed in 1799, after Napoleon, now titled First Consul, had become the dictator of France. In Bonaparte Crossing the Alps at the Saint-Bernard (1801; Versailles and studio repetitions), David celebrated the victo of Marengo, "calm on a fiery horse," as Bonaparte himself had specified. When Napoleon made himself emperor of France in 1804, he appointed David his First Painter and commissioned him to commemorate the empire's inaugural ceremonies in four paintings of very large size. Only two, the Coronation and the Presentation of the Standards, were executed, before David's insistent demands for money and administrative power so irritated the emperor that he canceled the project. David had witnessed the coronation in the choir of Notre Dame. In striving to give artistic form to a scene from modern life, he put aside his classicist preferences and followed the example of Rubens' Coronation of Maria de Médici (Louvre). His innate realism was roused by the ceremonial: he found that crimson velvet and gold braid, though repugnant to strict classicists, "offered opportunities to a painter," as did the pomp of monarchy to a former revolutionary. A masterly composition of splendid, painterly execution, David's Coronation (1805-1808, Louvre) remains the summit of modern history painting. The second canvas in the series, Presentation of the Standards (1808-1810, Versailles), which records the armies' homage to the emperor, proved less successful. After its exhibition at the Salon of 1810, David received no further state commissions. Lacking official employment, he reverted to classical subjects of his own choice, taking up again a monumental canvas, Leonidas at the Pass of Thermopylae (1812-1814, Louvre), that he had begun under the Consulate in 1799 but abandoned at Napoleon's prompting. At sixty-two, he was beginning to show signs of weariness. The robustly modern realism and the delight in fresh colors that Napoleon's commissions had stimulated hereafter found an outlet only in portraits, notable among them the National Gallery's Napoleon in His Study (1961.9.15), the private commission of a francophile Briton.
After Napoleon's first abdication in April 1814 and the restoration of Louis XVIII, David remained undisturbed and was able to arrange a private exhibition of his Leonidas. In March 1815 Napoleon returned from Elba, swept away the Bourbon court, and reconfirmed David as First Painter. David now signed a declaration of loyalty to Napoleon--an act of courage, since he foresaw the emperor's ultimate defeat. On the reinstatement of Louis XVIII after Waterloo, David was banished from France, together with other regicides who had opted for Napoleon. He settled in Brussels in 1816 and, at sixty-eight, prepared for a new life. The portraits he painted in these last years prove his sense of composition and vigor of execution to have been almost undiminished. Not so his renewed attempts at classical subjects that, now entirely without ideological relevance, took the form of ingratiating erotic mythologies--among them Cupid and Psyche (1817, The Cleveland Museum of Art) and David's disastrous swan song, Mars Disarmed by Venus and the Graces (1824, Musées Royaux, Brussels). Preceded by much publicity, this painting, when shown in Brussels and Paris to more than twenty thousand paying visitors, dismayed both friends and foes by its feebleness. David ended his days in bourgeois comfort in Brussels, cared for by affectionate pupils and friends. A heart ailment brought on his death in December 1825. The revolutionary who had stage-managed the pagan funerals of Lepelletier and Marat was borne in solemn cortège to the church of Sainte-Gudule and given a Christian burial. [This is the artist's biography published in the NGA Systematic Catalogue]
________________________________
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...
.
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...
Solenidade de Abertura da Comissão Permanente de Democratização e Aperfeiçoamento dos Serviços Judiciários
DEMOCRATIZANDO O ACESSO À JUSTIÇA. Foto: Gil Ferreira/Agência CNJ
Véronèse (Paolo Caliari)
Verona 1528 – Venice 1588
Christ Crowned with Thorns
About 1584-1585
Oil on canvas
75.5 x 57.3 cm
Purchase, the Museum Campaigns 1988-1993 and 1998-2002 Funds, gift in memory of Dr Alicja Lipecka Czernick and her husband, Dr Stanislas Czernick, the Montreal Museum of Fine Arts' Volunteer Association Fund, and Horsley and Annie Townsend Bequest, inv. 2010.23
Veronese was one of a triumvirate of competing yet mutually influencing, transcendently great artists who dominated painting in Venice in the second half of the sixteenth century, the other two being Titian and Tintoretto. Titian defined the comprehensive terms of the Venetian variant of the High Renaissance, with its rich colourism, grand and idealized forms emerging within a palpable atmosphere. Veronese, born a generation and a half later than the great master, appreciated the appeal to the tactile sumptuousness of rich surfaces, and the visual stimulation of the juxtaposition of colours. In his late works his previously resplendent colours became increasingly denser and darker and a new emotional resonance, even poignance enters, his work, as in this painting executed in the last years of his life.
In the 1580s, Veronese executed some of his most moving and personal compositions, often simplified to single figures, featuring a dark, introspective tonalism. In the period of the Counter-Reformation, immediately following the Council of Trent, a tense political climate existed in Venice, resulting from a series of serious defeats from and battles with the Ottoman Turks. Venice, already a city of profound religious faith and many public religious activities, became even more intensely pious. This piety was enhanced by a series of plagues, including a particularly virulent one in 1576. It is in this ambience that the Christ Crowned with Thorns was created.
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
A Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) se reúne para apresentação da pesquisa sobre violência doméstica e familiar contra a mulher; apreciar o Plano de Trabalho da Comissão e analisar requerimentos.
Mesa (E/D):
ministro da Saúde Arthur Chioro;
deputada Eucione Barbalho (PMDB-PA);
senadora Simone Tebet (PMDB-MS);
senadora Vanessa Grazziotin (PCdoB-AM);
ministra Eleonora Menicucci; mulher; Thiago Cortez Costa, servidor DataSenado
Fotos: Marcos Oliveira/Agência Senado
Margaret Gilmore, Chair of United Public Workers of America (UPWA) Local 3 (CIO), writes to her members circa 1949 giving an update on the struggle at the Bureau of Engraving for permanent status for all temporary workers.
The letter seeks individual petitions for permanent status, reports on a meeting with the Rep. William Dawson, the only Black elected representative in Congress, and informs members of a planned visit to the White House.
During World War II hundreds of temporary employees were hired at the Bureau of Engraving, including many temporary White printers, without competitive exams or consideration of tenure at the Bureau and often had to be trained by Black assistant printers and helpers.
By an agreement with the all-White printers union, the White temporary printers were given permanent status. At the same time, the Bureau began eliminating the positions of temporary Black workers that held printer assistant and printer helper positions.
UPWA Local 3 led a multi-year campaign against discrimination at the agency resulting in a resounding victory when the government opened the ranks of skilled plate printers to Black Americans. Other positions were also opened up to Black Bureau of Engraving workers.
Gilmore, led a broad coalition against Jim Crow at agency that included the Federation of Civil Associations, the Cafeteria Workers Union, the DC Coordinating Committee to End Discrimination, the NAACP, the civil liberties committee of the Elks, and luminaries such as Howard University President Mordecai Johnson, long time civil rights activist Rev. William H. Jernagin and civil rights attorney Charles Hamilton Houston.
The plate printer positions had traditionally been filled by the American Federation of Labor all-white printers union. The UPW, a Congress of Industrial Unions (CIO) organization railed against the fact that not a single African American was employed as a plate printer anywhere in the United States.
Charles Hamilton Houston wrote in February 1949:
“The Bureau maintains Jim Crow locker and rest rooms. Colored women can be printers’ helpers and colored men can be printers’ assistants but that is their limit regardless of education, aptitude, intelligence and experience.
“During World War II the labor demands on the Bureau were so heavy the Bureau hired hundreds and hundreds of workers (including printers, printers assistants and printers helpers) without competitive civil service examinations.
“The printers were all white; the printers assistants, in large number, colored males; and the printers helpers, predominantly colored women.
“After the War, the printers were “blanketed in” as permanent employees merely by fill out forms showing they met the civil service requirements. They did not have to take any competitive examinations.
“But to thin out the predominantly colored printers helpers, the women were notified that before they could be made permanent they would have to take a competitive examination open not only to Bureau employees but to the women in the whole United States.
“On the other hand, colored men have never been promoted to the journeyman class either as printer, electrician or any other mechanic or tradesman. The Bureau has always conducted apprentice training programs especially for its printers.
“Before World War II colored people had never been admitted to the apprentice training programs. Then under UPW pressure the Bureau opened the plate printers apprentice training program to us [African Americans]; and, July 11, 1948 announced an examination for apprentice plate printers would be held.
“About 30 colored, including many World War II veterans, applied and qualified to take the examination. For a moment it looked as if at last we [Black Americans] would get our chance to start on the long road to become journeyman printers.
“Then suddenly the Bureau announced the examination was indefinitely postponed.
“This did not mean that the Bureau does not need printers. It is still recruiting white printers through the AFL white printers union which has a strangle hold on the Bureau.
“These new white printers have to be trained in the specialized Bureau work, and the colored printers assistants in many cases do most of the practical training.
“But the white printers get the money and the grade and the white AFL printers union keeps a closed shop against colored on U.S. government property.
“The UPW has now carried the fight director to the White House to see whether Executive Order 9080 establishing Fair Employment Practice policies in government service is the law, or whether the AFL white printers union is a force stronger than the Executive order as far as the Bureau of Engraving and Printing is concerned.
“The next time you handle a dollar bill take a good look at it. It was printed by “white only.”
In February 1950 after three years of internal organizing and public pickets, rallies and speeches, the Bureau of Engraving opened the ranks of plate printers to Black Americans.
The UPW was effectively destroyed during the second Red Scare. Its leaders first resisted signing affidavits that they were not members of the Communist Party and the Congress of Industrial Organizations later expelled the union along with eight others in February 1950.
In Washington, D.C., the UPWA had led fights against discrimination at the Library of Congress, at the Bureau of Engraving, through the Cafeteria Workers Union had uplifted several thousand workers from poverty, had established a school to train its members and opened a union canteen.
The union embraced the fight for hiring Black bus and trolley operators, for establishment of a permanent Fair Employment Practices Commission, against the poll tax and many other fights for justice by Black Americans.
But it couldn’t withstand the onslaught led by many of the same opponents of racial equality who this time hid behind the fig leaf of anti-communism. The UPWA quickly lost affiliates during the second Red Scare and dissolved in 1953.
The only remnants of the UPWA in the city are the restaurant workers union that traces its roots back to the UPWA formation in 1937. Outside the city, the Hawaii Public Workers Union and the union for workers in the Panama Canal Zone can trace their roots back to the UPWA.
For a PDF of this 8 ½ x 14, one-sided letter, see washingtonareaspark.com/wp-content/uploads/2024/03/1949-c...
For more information and related images, see flic.kr/s/aHskCeLLQ5
Original held in the Smithsonian Institution, Anacostia Community Museum, Henry Preston Whitehead Collection.