View allAll Photos Tagged permanent
PS Urujeni Bakuramutsa receiving copies of credentials from New Ambassador of Republic of Malawi Mr. Glad Chembe Munthali
1/2023 Meeting and Opening Ceremony of the Committee of Permanent Representatives to ASEAN (CPR) Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya
Subcomissão Permanente de Proteção e Defesa da Pessoa Idosa (CASDPI) realiza audiência pública interativa para tratar sobre a efetividade da Lei n° 10.741, de 2003, o Estatuto da Pessoa Idosa, o qual procura garantir o acesso da pessoa idosa ao trabalho digno e adequado às suas condições; afastar qualquer discriminação na admissão ou na atividade profissional da pessoa idosa; e habilitar e capacitar as pessoas idosas para o trabalho.
Em pronunciamento, presidente da CASDPI, senador Eduardo Gomes (MDB-TO).
Foto: Roque de Sá/Agência Senado
I reach for inspiration and go back to the 3rd grade. My friend Ben puked up a carton of Jungle Juice on 6 people one day. It looked like a blood bath.
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
Six weeks after digging up part of my driveway to replace the gas line, BGE finally put in the permanent patch. July 16, 2019.
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.
Stephen Charles Vasciannie, Ambassador, Permanent Representative of Jamaica to the OAS
Date: May 22, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
HISTORY UPDATED - Permanently retired (COVID-19)...
Fleet No: "273".
First flown with the Airbus test registration F-WWKZ, this aircraft was delivered to US Airways as N673UW in May-00. It was re-registered N273AY in Aug-06. US Airways was merged into American Airlines in Apr-15. The aircraft was withdrawn from service in Mar-20 due to the COVID-19 Pandemic and stored at Roswell, NM, USA. In late summer 2020 American made the decision to permanently retire the whole A330 fleet and it continued to be stored at Roswell. Updated (Oct-20).
Fase de Arpa, Canto y Música de Cámara del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que ha tenido lugar los días 18 a 20 de noviembre´11 en Ciutadella de Menorca (Islas Baleares, Spain)
Toda la información en la web de Juventudes Musicales de España, o en la página de Joventuts Musicals de Ciutadella.
Álbum Concurso Permanente de Jóvenes Intérpretes JJMMEspaña – Ciutadella de Menorca - Noviembre´11
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para discutir sobre a contribuição dos Biocombustíveis no cumprimento das metas brasileiras estabelecidas na iNDC.
Mesa (E/D):
professor doutor da UFRJ, Donato Aranda;
chefe geral da Embrapa Agroenergia, Guy de Capdeville;
diretor superintendente da União Brasileira do Biodiesel e Bioquerosene (Ubrabio), Donizete Tokarski;
relator da CMMC, senador Fernando Bezerra Coelho (PSB-PE);
secretário de Petróleo, Gás Natural e Biocombustíveis do Ministério de Minas e Energia (MME), Márcio Félix Carvalho Bezerra;
pesquisadora Rede Clima, Samya de Lara Pinheiro
Foto: Marcos Oliveira/Agência Senado
La Comisión Permanente no Legislativa para las Políticas Integrales de la Discapacidad para la IX Legislatura, se ha reunido con el siguiente orden del día:
1. Comparecencia de D.ª Carmen García Serrano, Presidenta de la Federación ASPACE Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00014).
2. Comparecencia de D.ª M.ª Carmen Navarro Honrado, Presidenta de la Federación de Salud Mental de Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00015).
3. Otros asuntos de interés.
La Comisión ha estado presidida por Emilio Sáez, PSOE, y han participado José Luis Escudero (PSOE), David Llorente (Podemos) y Cortes Valentín y Claudia Alonso (PP).
owned by Michigan as a permanent vacation home for Michigans governor..i was kind of sad t hear that our current governer has never been here. I think if i was governor..i would be doing all of my governing from here. Mackinac Island is the most beautiful place i have seen so far.,...
El diálogo permanente entre entidades del sector, la fijación de compromisos institucionales, la adaptación al marco normativo colombiano del Índice de Pobreza Multidimensional (IPM) y la creación de instancias de articulación han permitido que Colombia sea un referente para la región en la implementación de este índice.
Así lo explicó el director encargado de Prosperidad Social, Nemesio Roys Garzón, durante su intervención en el panel de expertos que se realizó en el marco del seminario "Índice de pobreza multidimensional (IPM): su impacto en la política social", que tuvo lugar en la Universidad de los Andes, organizado por la Iniciativa de Pobreza y Desarrollo Humano de Oxford (OPHI), centro de investigación de la Universidad de Oxford.
"La medición del IPM Colombia en 2010 dio como resultado una incidencia del IPM del 30,4% a nivel nacional. A 2015, la proporción disminuyó a 20,2%", aseguró Roys Garzón.
El Director Encargado de Prosperidad Social, agregó que para implementar el IPM se tuvieron en cuenta diferentes aspectos como la revisión de las variables más utilizadas en otros indicadores, el marco normativo a partir de la Constitución Nacional, estudios sobre pobreza, los índices multidimensionales aplicados a Colombia (NBI, ICV, SISBEN III), los umbrales definidos por los Objetivos de Desarrollo del Milenio y la disponibilidad de información en una sola fuente estadística, es decir, la Encuestas de Calidad de Vida del DANE.
Desde que se adoptó el IPM como medida oficial en Colombia se crearon instancias de articulación como la Mesa para la reducción de la Pobreza, el Comité Ejecutivo de Directores, las mesas de trabajo asociadas al IPM y el Comité de expertos para la medición de pobreza. Como consecuencia de esto, se generaron alertas que llevaron al diseño de programas y estrategias para la población más necesitada. En el panel se destacó por ejemplo que en 2010, la Mesa de Pobreza generó alertas por las brechas entre pobres y no pobres multidimensionales en el logro educativo y el acceso a servicios para la primera infancia, lo cual llevó a la formulación de las estrategias de gratuidad escolar y de atención a la primera infancia "De Cero a Siempre".
"Posiblemente, el hito más importante en el proceso de implementación del IPM fue su incorporación en el Plan Nacional de Desarrollo 2014-2018, y la gran apropiación del Gobierno Nacional del lenguaje del IPM. De igual manera, la georreferenciación nos ha permitido mejorar la focalización de nuestros programas sociales, y dirigir la inversión a los lugares donde existen mayores privaciones", concluyó Roys Garzón.
En el panel de expertos que discutieron acerca de diferentes aspectos del IPM, estuvieron además Mauricio Perfetti, director general del DANE; el experto Roberto Angulo, representante OPHI y Luis Fernando Mejía, subdirector sectorial de Planeación Nacional. La moderación estuvo a cargo de Sabina Alkire, directora general OPHI.
El Seminario se adelantó en el marco del curso de verano que adelanta la iniciativa OPHI con funcionarios oficiales de 13 países de Centro América y Suramérica, para analizar el caso colombiano y revisar los indicadores de cada nación según su propia realidad y coyuntura. / Mar. 13, 2017. (Fotografía Oficial Prosperidad Social / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Departamento Administrativo para la Prosperidad Social está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Departamento Administrativo para la Prosperidad Social.
DPS Página Web / Twitter / Facebook / Youtube / Instagram
Solenidade de Abertura da Comissão Permanente de Democratização e Aperfeiçoamento dos Serviços Judiciários
DEMOCRATIZANDO O ACESSO À JUSTIÇA. Foto: Gil Ferreira/Agência CNJ
Permanent tattoo removal service
Dr. Ruchika Taneja
visit website:- asarrmedisol.com/
#asarrmedisol #asarr #medisol #DrRuchikaTaneja #PermanentEyeBrows #PermanentEyeBrowsService #bestPermanentEyeBrowsService
#PermanentEyeBrowsServiceinGurgaon #laserhairremoval #service #treatment #delhi #gurgaon #gurugram #women #beauty #moleremoval #noida #girls #parlor #parlour #beautyparlour #instagood #instagram #instagramreels #india #hairremoval #womenpower #clinic #hair #underarms
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base (CEEEFCB) realiza audiência pública para tratar sobre o Projeto de Lei do Senado nº 383, de 2017, "que dispõe sobre a regulamentação da prática esportiva eletrônica”, em atendimento ao Plano de Trabalho desta subcomissão.
Em pronunciamento, à mesa, presidente da Confederação Brasileira de Desporto Eletrônico (CBDEL), Daniel Cossi.
Foto: Edilson Rodrigues/Agência Senado
Plenário do Senado Federal durante sessão deliberativa extraordinária. Ordem do dia.
Na pauta, deliberação de autoridades sabatinadas pelas comissões permanentes, e dos demais itens constantes da pauta publicada pela Secretaria-Geral da Mesa.
Bancada:
senador Omar Aziz (PSD-AM);
senador Flávio Bolsonaro (PL-RJ).
Foto: Edilson Rodrigues/Agência Senado
Darío Paya, Ambassador, Permanent Representative of Chile to the OAS
Date: January 20, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
La Diputación Permanente aprobó, por unanimidad de votos, las solicitudes de licencia temporal presentadas por los legisladores Héctor Pedroza Jiménez, María de Lourdes Aparicio Espinosa, José Alfredo Torres Huitrón, Silvia Lara Calderón y Francisco Lauro Rojas San Román, del 21 de enero al 04 de febrero, además de Dora Elena Real Salinas, Ignacio Pichardo Lechuga y Fidel Almanza Monroy, quienes renovaron su petición para el mismo periodo. goo.gl/EEctQd
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para tratar sobre o seguinte tema: "A regularização fundiária como instrumento para mitigar a tensão social no campo e incentivar a produção em bases sustentáveis".
Mesa:
vice-presidente da CMMC, deputado Sergio Souza (MDB-PR);
secretário nacional de regularização fundiária, Nabhan Garcia;
secretário-adjunto da Secretaria de Coordenação e Governança do Patrimônio da União (SPU), Mauro Benedito de Santana Filho.
Foto: Jefferson Rudy/Agência Senado
Augustus Saint-Gaudens - American, born Ireland, 1848 - 1907
The Shaw 54th Regiment Memorial, 1900
West Building, Main Floor — Gallery 66
A white man in military uniform rides a horse in front of a regiment of five rows of Black troops in this sculpture, which is painted entirely in gold. The artist created a shallow, stage-like space with an arched top so the men are sculpted in three dimensions, though they become more compressed as they move back in space. The men and horse face our right in profile in this view. The man on the horse has a pointed, straight nose and a goatee. He wears a cap with a flat top and narrow brim, a knee-length coat, gloves, and knee-high boots with spurs. He holds a thin sword down by the side of the horse with his right hand and holds the reins of the horse with his left. The horse’s head is pulled upward by the short reins, and its mouth is open around the bit. About twenty soldiers are lined up in rows beyond the horse, and they march in unison. They carry blankets rolled atop knapsacks, canteens, and rifles resting on their right shoulders. However, the details of how their uniforms bunch up around their equipment and the way their caps have been molded and fit is unique to each person. Their ages also vary from young and cleanshaven to bearded, older men. Two men carry furled flags near the back, to our left, and a drummer boy plays at the head of the regiment, to our right. All the men look straight ahead, their lips closed. A woman in a billowing robe floats above them under the arched top of the sculpture with her eyes closed. Her left arm is outstretched, and she holds a laurel branch and poppies close to her body with her right arm. An inscription in the upper right corner is created with raised capital letters: “OMNIA RELINQVIT SERVARE REMPVBLICAM.” A longer inscription is carved into the base along the bottom edge of the memorial, also in all caps: “ROBERT GOVLD SHAW KILLED WHILE LEADING THE ASSVLT ON FORT WAGNER JVLY TWENTY THIRD EIGHTEEN HVNDRED AND SIXTY THREE.” The artist’s signature is inscribed In the lower right corner, in smaller letters: “AVGVTVS SAINT GAVDEN M-D-C-C-C-L X X X X V I I I.”
The 54th Massachusetts Regiment
The 54th Massachusetts Volunteer Infantry was raised shortly after Lincoln’s issuance of the Emancipation Proclamation on January 1, 1863. Recruits came from many states, encouraged by such African American leaders as the great orator Frederick Douglass, whose own sons joined the 54th. The unit was commanded by 25-year-old Robert Gould Shaw, the Harvard-educated son of dedicated white abolitionists.
On the evening of July 18, 1863, the 54th Massachusetts led the assault upon the nearly impenetrable earthworks of Fort Wagner, which guarded access to the port of Charleston, South Carolina. Shaw, at the front of the charge, was one of the first to die. Of the approximately 600 men of the 54th who participated, nearly 300 were captured, declared missing, or died from wounds they received that day. The steadfastness and bravery of the 54th were widely reported, providing a powerful rallying point for African Americans who had longed for the chance to fight for the emancipation of their race. By the end of the war, African Americans composed 10 percent of the Union forces, contributing crucial manpower to the final victory of the North.
The Sculptor
Augustus Saint-Gaudens was born in Dublin in 1848 and raised in New York, where he was apprenticed to a cameo-cutter at the age of 13. After a period of study in Paris in the 1860s, he began his career in Rome with several commissions for sculpted portraits. In post–Civil War America, the unprecedented interest in creating public monuments to the nation’s heroes brought Saint-Gaudens many commissions. The sculptor’s ability to combine startling naturalism with lofty allegory made his work eminently suited to such endeavors. The Shaw 54th Regiment Memorial, first imagined by the artist as a traditional equestrian monument to a single heroic figure, evolved into a more original and challenging project as the artist added a narrative relief to commemorate the troops as well as their leader. Although the sculptor’s contract called for the work to be completed in two years, it took Saint-Gaudens more than a decade to complete the monument, which kept evolving and growing in complexity, becoming, as he said, “a labor of love.”
Even as The Shaw 54th Regiment Memorial was being cast in bronze before its unveiling on Boston Common in May 1897, Saint-Gaudens was working on yet another version of the subject. This slightly different design, cast in plaster, reflects subtle changes that the sculptor made as he refined the sculpture into his final vision prior to its exhibition in Paris in 1898 and 1900. In 1901, the plaster traveled to the Pan-American Exposition and was purchased the following year by the Buffalo Fine Arts Academy (later the Albright-Knox Art Gallery). Presented by that museum to the Saint-Gaudens National Historic Site in 1949, it was exhibited there for several decades. As part of an extensive conservation and casting project, this plaster version of Saint-Gaudens’s timeless masterpiece came to the National Gallery of Art on long-term loan in 1997.
Augustus Saint-Gaudens was born in 1848 in Dublin, Ireland. His father, Bernard, was a shoemaker from Aspet in Gascony, France, who married an Irishwoman, Mary McGuiness. A few months after Augustus' birth, the family emigrated to the United States to escape the famine, settling in New York City. In 1861 Augustus began his apprenticeships to French cameo cutters in New York, first in the studio of Louis Avet and later, in 1864, with Jules Le Brethon. He also attended classes at the National Academy of Design and the Cooper Union. Early in 1867, with his parents' backing, Saint-Gaudens embarked for Paris. Supporting himself as a cameo cutter, he studied first at the Ecole gratuite de Dessin (Petite Ecole) and, beginning in 1868, in the atelier of the sculptor François Jouffroy (1806-1882), who recommended his admission to the Ecole des Beaux-Arts. Saint-Gaudens became one of the first Americans to study sculpture at the Ecole.
In November of 1870, the Franco-Prussian War prompted Saint-Gaudens to move to Rome, where he began modeling Hiawatha (marble, 1874-1875; private collection) and made cameos and busts of American visitors. With assistance from one patron, Montgomery Gibbs, he returned to New York in September 1872 and began work on trademark panels for the Adams Express Building in Chicago. He taught his younger brother Louis (1854-1913) cameo cutting, and the two went to Rome together in 1873. Augustus modeled a number of portrait busts and copies after the antique, produced in marble in collaboration with Louis and other assistants. But he was above all a modeler whose greatest achievements would be realized in bronze. In 1874 he became engaged to Augusta Homer, who was in Rome studying painting.
Seeking commissions that would provide security for his marriage, Saint-Gaudens returned to New York in 1875, where he designed ornamental metalwork for Tiffany Studios. Around that time he met the painter John LaFarge (1835-1910) and the architects Stanford White (1854-1906) and Charles McKim (1847-1909), who became life-long friends and collaborators. La Farge encouraged Saint-Gaudens to try modeling portrait reliefs and to seek the commission for a monument to Admiral Farragut planned for Madison Square Park. He secured the Farragut commission in 1876. In 1876-1877 he also obtained commissions for tombs and monuments and, with La Farge's help and collaboration, for the reredos for Saint Thomas' Church (polychrome cement composition relief panels, 1877; destroyed by fire in 1905). After a sketch of his was rejected for the National Academy of Design exhibition, Saint-Gaudens joined Richard and Helena Gilder and others in founding the Society of American Artists. He finally married Augusta Homer on 4 June 4 1877; they left for Paris two days later.
In Paris Saint-Gaudens began modeling the portraits in low relief, which would become a leitmotiv of his career, and worked on the Farragut Monument. Stanford White, who came to live with the newlyweds, collaborated on designs for the base, the first of many such projects. With its allusions to Donatello's Saint George (c. 1416-1417, Florence, Museo Nazionale del Bargello), the Farragut Monument evoked the style of the Italian Renaissance as well as the French Ecole des Beaux-Arts, spurning the neo-classicism that had prevailed in American monuments. It was completed in 1880, just as Saint-Gaudens' son Homer (1880-1958) was born, and unveiled in 1881. Its quality and innovative character won Saint-Gaudens his first great public success.
Numerous commissions followed in the 1880s and 1890s. These included two major interior decorative projects for New York mansions between 1881 and 1883: the home of Cornelius Vanderbilt II (mantelpiece preserved in the Metropolitan Museum of Art, New York) and the Henry Villard House. The latter was designed by McKim, Mead, and White, with sculpture executed by Louis Saint-Gaudens under his brother's direction. Monument commissions included The Puritan for Merrick Park in Springfield, Massachusetts (1883-1886), and the standing statue of Abraham Lincoln for Lincoln Park, Chicago (1884-1887). An eighteen-foot statue of a nude Diana (1886-1891), made of gilded sheet copper to stand as a weather vane atop Stanford White's Madison Square Garden, proved too large and was replaced by a thirteen-foot version (1892-1894, Philadelphia Museum of Art). Simultaneously he worked on his most celebrated funerary monument, the Adams Memorial (1886-1891, Rock Creek Cemetery, Washington, D.C.), designed by Stanford White. The heavily veiled, seated figure, with its shadowed, introspective face, summons myriad emotions only beginning with grief for Marion Adams, the wife of historian Henry Adams, who committed suicide in 1885.
Diana and the Adams Memorial statues, at opposite ends of the expressive spectrum, share an ideal of beauty that came to life for the sculptor in his model Davida Johnson Clark, who became his mistress in the early 1880s, and bore him a son, Louis P. Clark, in 1889. Aside from Diana, works that are generally recognized as portraits of Davida include the much-admired Amor Caritas, an entranced, standing winged woman in richly modeled drapery, executed in variously sized bronze high reliefs, beginning in 1898. This figure was evidently conceived around 1880 for the tomb of Edward D. Morgan (unfinished, models destroyed), employed for the Vanderbilt mantelpiece caryatids in 1881-1883, and perfected on the tomb of Anna Maria Smith (1897, Newport, Rhode Island; signed by Louis Saint-Gaudens).
Arguably Saint-Gaudens' masterpiece is the Shaw Memorial on Boston Common, in progress from 1884 to 1897, combining statuary and high relief in bronze. It commemorates the young Colonel Robert Gould Shaw and the regiment of African-American volunteers who died in great numbers with him in a heroic assault on Fort Wagner, South Carolina, in 1863. Saint-Gaudens' gifts for portraiture, cadenced composition, and reserved expression calling forth projected emotions make this an exceptionally powerful war memorial. His last great public commission was the Sherman Monument of 1892-1903 on Grand Army Plaza in Central Park, New York, with a statue of General William Tecumseh Sherman on horseback led forward by a winged Victory.
In his peripatetic career Saint-Gaudens shuttled between Paris, Rome, his New York studio, and the one at his country estate of Aspet, in Cornish, New Hampshire, which was purchased in 1891 and named for the French town where his father was born. Diagnosed with cancer in 1900, he continued working with the help of assistants, recovering from a disastrous studio fire in 1904 and persevering until his death in Cornish in 1907. His late productions included the Stevenson Memorial of 1902 for Saint Giles' Cathedral, Edinburgh, incorporating a version of the famous portrait relief of Robert Louis Stevenson that he had modeled in 1887. In 1905-1907 he designed a new classical coinage for the United States mint, including ten-dollar and twenty-dollar gold pieces.
Saint-Gaudens took a leading role in planning the World's Columbian Exposition of 1893 in Chicago, for which architects, planners, sculptors, and painters together created an ephemeral but influential White City. His continuing collaborations with architects and planners, along with his tremendous talent, promoted increased recognition of the sculptural profession in the United States. He was a founder of the National Sculpture Society in 1893 and of the American Academy in Rome (1894-1895, chartered 1905). His many pupils included Frederick W. Macmonnies (1863-1937) and Bela Lyon Pratt (1867-1917).
________________________________
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...
.
Concepcion Picciotto, Washington, DC.
She has lived and protested on the street just outside the gates of the White House since January 1, 1981.
This is her site: www.prop1.org/conchita/
Taken with a Holga and Ilford Delta 400.
One of the only permanent Lenin Museums in the world is located at the Worker's Hall of Tampere, Finland, inside the hall where Lenin and Stalin met for the first time in 1905.
The original function of the museum was to present the life and ideas of Lenin. The museum ethos was to remain aloof from the ideological education practised by other Lenin museums, as well as from a tendency toward a ‘Lenin cult’. Today, the museum, among other things, collects, exhibits and researches material related to Lenin's life and activities and the history of the Soviet Union/Russia, particularly where the material relates to connections with Finland and the Finns. After the disintegration of the Soviet Union many documents, creating a more accurate picture of Lenin, have been unearthed from various archives. In the 1990s the old objects and symbol world of old Soviet socialism became museum goods. At the same time that this unique body of material faces the threat of destruction, the importance of the Lenin museum as the recorder of an entire era has grown.
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza audiência pública para debater o Plano Nacional de Esporte.
Em pronunciamento, diretor Institucional do Centro de Treinamento de Educação Física Especial (CETEFE), Ulisses Araújo.
Foto: Waldemir Barreto/Agência Senado
Holy Cross Church in Wilmington, NC installed 5,880 sq ft sanctuary space with classrooms and fellowship mall area in our modular building.
Nam June Paik, Born Seoul, Korea 1932-
died Miami Beach, FL 2006
Electronic Superhighway: Continental U.S., Alaska, Hawaii, 1995, fifty-one channel video installation (including one closed-circuit television feed), custom electronics, neon lighting, steel and wood; color, sound, approx. 15 x 40 x 4 ft.,
Paik predicted, in 1965, that "someday artists will work with capacitors, resistors, and semiconductors as they work today with brushes, violins and junk." Over the decades, his own work stayed in constant conversation with how new technologies reshape the world. Electronic Superhighway playfully engages three such forces--the US interstate highway system, cable television, and the emergent internet of the 1990s.
In this TV map, neon-outlined states play a mix of borrowed and original footage. Each distinct channel reveals Paik's associations with or understanding of that state. Some video collages draw from personal connections, like Paik's recordings of longtime collaborator and cellist Charlotte Moorman filling the screens in her home state of Arkansas (along with images of then president Bill Clinton, also from Arkansas). Others incorporate existing media representations, with the movie musical Oklahoma! filling Oklahoma, and edits from a documentary on the 1950s Montgomery bus boycotts echoing from Alabama. A closed-circuit camera marks Washington, DC, where gallery visitors can see themselves in real time. This suggests the map is also a portrait, reflecting how media and mediation shape views of ourselves and each other at national, regional, and individual levels.
Audio Note: Synced television sounds match a handful of states' channels, so the audio spreads and blends across the length of the map. At different moments, various soundtracks become louder and dominate; at other times it is a noisy collage. The appropriated movie musicals--Oklahoma! in Oklahoma, Meet Me in St. Louis in Missouri, and The Wizard of Oz in Kansas--are each audible when standing nearby and as their songs reach a crescendo. Uniquely, the audio related to the Montgomery bus boycotts, which includes speeches by Malcolm X and Martin Luther King Jr., plays through speakers on both sides of the map, not just near Alabama, making it the most prominent and legible part of the sound mix.
Nam June Paik (1932–2006), internationally recognized as the "Father of Video Art," created a large body of work including video sculptures, installations, performances, videotapes and television productions. He had a global presence and influence, and his innovative art and visionary ideas continue to inspire a new generation of artists.
Born in 1932 in Seoul, Korea, to a wealthy industrial family, Paik and his family fled Korea in 1950 at the outset of the Korean War, first to Hong Kong, then to Japan. Paik graduated from the University of Tokyo in 1956, and then traveled to Germany to pursue his interest in avant-garde music, composition and performance. There he met John Cage and George Maciunas and became a member of the neo-dada Fluxus movement. In 1963, Paik had his legendary one-artist exhibition at the Galerie Parnass in Wuppertal, Germany, that featured his prepared television sets, which radically altered the look and content of television.
After immigrating to the United States in 1964, he settled in New York City where he expanded his engagement with video and television, and had exhibitions of his work at the New School, Galerie Bonino and the Howard Wise Gallery. In 1965, Paik was one of the first artists to use a portable video camcorder. In 1969, he worked with the Japanese engineer Shuya Abe to construct an early video-synthesizer that allowed Paik to combine and manipulate images from different sources. The Paik-Abe video synthesizer transformed electronic moving-image making. Paik invented a new artistic medium with television and video, creating an astonishing range of artworks, from his seminal videotape Global Groove (1973) that broke new ground, to his sculptures TV Buddha (1974), and TV Cello (1971); to installations such as TV Garden (1974), Video Fish (1975) and Fin de Siecle II (1989); videotapes Living with the Living Theatre (1989) and Guadalcanal Requiem (1977/1979); and global satellite television productions such as Good Morning Mr. Orwell, which broadcast from the Centre Pompidou in Paris and a WNET-TV studio in New York City Jan. 1, 1984.
Paik has been the subject of numerous exhibitions, including two major retrospectives, and has been featured in major international art exhibitions including Documenta, the Venice Biennale and the Whitney Biennial. The Nam June Paik Art Center opened in a suburb of Seoul, South Korea, in 2008.
____________________________________
"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...
..