View allAll Photos Tagged permanent
From left to right:
Bayney R. Karran, Chair of the OAS Permanent Council and Permanent Representative of Guyana to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Date: May 15, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
O Futuro Chegou: Como Utilizar Ferramentas de Inteligência Artificial para Aumentar
a Eficiência e a Efetividade da Auditoria Interna (Filipe de Caires/Itaú Unibanco).
Foto: G. Dettmar/ Ag.CNJ
Subcomissão Permanente de Segurança Pública, criada no âmbito da Comissão de Constituição, Justiça e Cidadania (CCJSSP) debate problemas da segurança pública e as leis penais no país. Mesa (E/D): senador Eduardo Braga (PMDB-AM); presidente da CCJSSP, senador Pedro Taques (PDT-MT); ministro do Superior Tribunal de Justiça (STJ) Gilson Dipp
Get salon-quality Semi-permanent hair color at home with these pro-approved kits from trusted hair dye Clairol Natural Instincts Semi-Permanent Hair Color
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
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.
Childe Hassam - American, 1859 - 1935
Poppies, Isles of Shoals, 1891
West Building, Main Floor — Gallery 70
We look across a profusion of vivid red, blush-pink, and white flowers lining a stony shoreline in this almost square landscape painting. The scene is loosely painted so some details are indistinct, especially the blossoms of the flowers, which are dabs of pink and red. The flowers have long, sage-green stems shaded with flicks of navy blue. The field of flowers covers the bottom third of the composition, and a vibrant green and blue bush peeks in from the right edge of the painting. Beyond the field of flowers is a powder-blue body of water with low, rocky formations, like giant, shallow boulders rolling across the surface of the water. The rocks are painted in shades of white tinged with pink, blue, and green with daubs of rust orange along their edges. An outcropping farther in the distance to our left is carpeted with patches of pea green and canary yellow. One rock formation in the middle of the composition almost spans the width of the painting. Beyond it is a small boat with white sails drifting on the water. In the deep distance is another long finger of oyster-white land stretching across the left half of the horizon, which comes two-thirds of the way up the composition. A lone bird flies through the milk-white sky that fills the top third of the scene. Some patches along the bottom edge of the painting are beige, where the canvas on which this is painted is visible. The artist signed and dated the lower left, “Childe Hassam 1891.”
Childe Hassam was a regular visitor to the Isles of Shoals, nine small, rocky, treeless islands off the New Hampshire coast. His acquaintance with the islands was due to his poet friend Celia Thaxter, whose house on Appledore Island was a summer mecca for writers, painters, illustrators, musicians, and other artistic visitors. Between 1890 and 1894, the year of Thaxter's death, Hassam painted many fine works there, some depicting the interior of Thaxter's cottage, others (the majority), outdoor scenes set either in or nearby her much-admired flower garden. Poppies, Isles of Shoals presents a broad vista moving from a dense foreground of flowers to a background of rocks, water, and sky. This view, centered on an outcropping called Babb's Rock, was one of Hassam's favorites, for he painted it many times. Although ample signs of man's presence were readily apparent from Celia Thaxter's garden, Hassam usually excluded them from his paintings. Here, only a passing sailboat hints that we are not in some pristine, wild environment.
The composition is divided into three distinct and equal bands of space, in which different colors predominate: green and red for the flowers; blue, purple, and white for the rocks and water; and pale blue for the sky. Hassam's brushwork is equally varied, ranging from lush red and white strokes defining the flowers to long drags of pigment suggesting the multihued surfaces of the rocks. At the bottom he left areas of canvas bare, adding yet another color and texture. For anyone accustomed to academic landscape painting, seeing one of Hassam's Isles of Shoals paintings was, as one reviewer wrote, "like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of nature's sunlight color pour in upon the retina."
Frederick Childe Hassam (he later discontinued the use of his first name) was born on October 17, 1859 in Dorchester, Massachusetts. His ancestors had come from England to America, with the original family name Horsham, in the seventeenth century. In 1876 he was apprenticed to a local wood-engraver and soon thereafter became a free-lance illustrator. In the evenings he attended the life class at the Boston Art Club, then briefly studied anatomy with William Rimmer (1816-1879) at the Lowell Institute, and took private lessons from the German-born painter Ignaz Gaugengigl (1855-1932).
In 1883 Hassam and his friend, the painter Edmund H. Garrett (1853-1929), traveled to Great Britain, Holland, Spain, and Italy, where Hassam produced a large number of watercolors that were exhibited at Williams & Everett Gallery in Boston later that year. Once home, in 1884, Hassam married Kathleen Maude Doane and lived in Boston until the spring of 1886 when the couple left for Europe. In Paris, Hassam studied figure painting with Gustave Boulanger (1824-1890) and Jules Lefebvre (1836-1911) at the Academie Julian, and exhibited his work at the Salons of 1887 and 1888. When they returned to the United States in 1889 the artist and his wife settled in New York. Hassam subsequently assisted in founding the New York Watercolor Club and joined the Pastel Society of New York. He also began to exhibit with the Society of American Artists, with whom he remained until withdrawing in 1897 as a founder of the group that would become known as The Ten.
During the 1890s and the following two decades Hassam spent his summers painting in locations throughout New England, such as Gloucester, Massachusetts; Cos Cob, Connecticut; and Newport, Rhode Island. His favorite settings, however, were Old Lyme, Connecticut, and Appledore, on the Isles of Shoals, off the coast of New Hampshire, where he produced some of his best known images. After 1920 the Hassams' permanent summer home became East Hampton, Long Island. A prolific and industrious artist, Hassam produced numerous scenes of both the city and the countryside. Many of his early street scenes of Boston, Paris, and New York, with their reflections of wet pavement or of gaslight on the snow, evidenced a wonderful talent for capturing the effects of light and atmosphere. While he recorded nearly all aspects of busy city life, he seldom focused on the seamier subjects that often attracted painters of the Ash Can School.
Throughout his career Hassam won numerous awards and prizes and earned the serious attention of the American collectors George A. Hearn, John Gellatly, and Charles Freer. His work was widely exhibited at established museums throughout the country. In the 1913 Armory Show Hassam was represented by six paintings, five pastels, and a drawing. About 1915 he began to turn in his efforts to printmaking, producing etchings and drypoints at first, and lithographs about two years later. By 1933 a catalogue raisonné of his intaglio prints identified 376 different plates. Toward the end of his life Hassam most often exhibited graphic works. The quality of his paintings, in the meantime, became increasingly uneven.
Of the American artists called impressionists, Childe Hassam was among those whose work most closely followed that of their French colleagues. Although Hassam was not a novice, but already a practicing artist when he began to study in Paris, it is apparent that he soon absorbed aspects of the avant-garde styles of that time and place. (Hassam himself chose to minimize his connection to the art of France, indicating that he was influenced, if at all, by the plein-air prototypes of nineteenth century English painters such as Constable, Turner, and Bonington, perhaps in recognition of his own national origins.) By the time Hassam turned wholly to impressionism, the style had been introduced into the United States for several years and the bright colors and broken brushwork of his images found a ready audience.
Despite his bewilderment concerning some of the changes in contemporary art toward the end of his life, Hassam continued to express faith in the future of American art. Shortly before his death, in East Hampton in August 1935, he arranged to bequeath all the paintings remaining in his studio to the American Academy of Arts and Letters. According to his wish these were sold to establish a fund for the purchase of American works which were then presented to museums.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o acompanhamento da crise hídrica na Região do Vale do São Francisco e no reservatório da barragem de Sobradinho.
À mesa, diretor de Operação da Companhia Hidro Elétrica do São Francisco (Chesf), João Henrique de Araujo Franklin Neto.
Foto: Jefferson Rudy/Agência Senado
Joseph Wright - British, 1734 - 1797
The Corinthian Maid, 1782-1784
West Building, Main Floor — Gallery 61
A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair. The man sits and sleeps on a deep, wood chair. The scene is lit from over our left shoulder so he casts a shadow on the brown wall on which he leans. His right arm, closer to us, hangs by his side with his palm turned to face away from his body. The other arm lies across his bent knee. He wears a harvest-yellow tunic, and a sapphire-blue cloak drapes over his far arm and the thigh closer to us. A long spear rests across one shoulder, and a thin, muted-brown dog, like a greyhound, sleeps on the ground by the man’s side. The woman leans one knee onto the chair and reaches out with a stylus to capture the man’s shadow. She is barefoot and smiles gently at his face. She also wears a dark yellow dress, which exposes one bare shoulder. A mauve-pink cloth wraps over one shoulder and the bent thigh. A deep red curtain bunched up in the upper left corner hides the light source. An urn, nearly as tall as the chair, stands behind the man and another is tipped over behind the woman. An arched opening leads into a darkened room to our right. Rectangles of red and white seen through the top of a pointed arched window there are difficult to interpret. A table and some shelves with more urns are deep in the shadows.
Joseph Wright was born in Derby on 3 September 1734, the third son of John Wright and Hannah Brookes. He trained with Thomas Hudson from 1751 to 1753, returned to Derby as a portraitist, but, "not being satisfied with himself," again studied under Hudson between 1756 and 1757, forming a lasting friendship with his fellow pupil John Hamilton Mortimer. He toured the East Midlands as a portrait painter in 1769 and worked in Liverpool from 1768 to 1771; otherwise he practiced in Derby, and the bulk of his output was portraiture. In the mid-1760s he began painting "Candlelight" pictures, his own phrase, chiefly of scientific subjects. He quickly achieved a high reputation in this field, in which he was an innovator. He first exhibited at the Incorporated Society of Artists in 1765, showing there regularly until 1776, when he transferred to the Royal Academy. In 1773 he married Anne Swift, "a person in an inferior station of life;" the couple had six children.
Wright spent nearly two years in Rome, from 1773 to 1775, where he was overwhelmed by the remains of classical antiquity and drew assiduously; on his way home he stopped briefly in Florence, Bologna, Venice, and other centers. When he returned, Wright abandoned his scientific and industrial scenes in favor of landscapes and literary subjects. After a disastrous two years in Bath, where he had hoped to take the place of Gainsborough, who had left for London in 1774, Wright settled in his native Derby. He was elected an Associate of the Royal Academy in 1781 but, after being defeated by Edmund Garvey for full Academicianship in 1783 and feeling constantly dissatisfied with the way his pictures were hung, he declined election the following year and resigned as an Associate. In 1785 he followed Gainsborough's example and held his own exhibition of his works (at Robin's auction rooms in London).
Wright was most at ease in provincial middle-class society, who were his clients, and was in close contact with the Lunar Society (a group interested in experimental science) and with leaders of the Industrial Revolution in the Midlands. From early middle age he suffered from chronic ill health, which frequently incapacitated him for months. His last years were marred by a plethora of complaints, and he died in Derby on 29 August 1797.
________________________________
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...
.
Hubert Robert - French, 1733 - 1808
The Ponte Salario, c. 1775
West Building, Main Floor — Gallery 55
A rustic, arched, stone bridge spanning a shallow river nearly fills this horizontal landscape. From low to the ground, we look up into and through a large arch, which occupies the lower half of the picture and frames a view that opens to a wide expanse of calm, pale blue water, wooded green riverbanks, and a misty, distant view of a village and a mountain. The horizon line comes a quarter of the way up the painting, and a smoke-colored cloud formation curves like a backward C against the ice-blue sky above. The bridge structure is made from stacked, sandstone-colored stone blocks to form heavy piers. Vegetation grows on the crumbing bridge and gaps indicate other stones are missing. The bridge’s deck runs across the center of the painting, rising slightly from left to right. Atop it, occupying the top left quadrant of the painting, sits a square stone two-story tower that encloses an arched passage over the bridge’s roadway. Groups of people, small in scale, are positioned on and around the bridge. At the river level, on a platform around a bridge footing, four women do laundry. Two pull sheets from the water and two bend on their knees to wash the linens in the river. They wear long skirts of slate blue, cranberry red, and ochre yellow with pinafores and white blouses rolled up to the elbows, with their hair pinned up. A bearded man in brown trousers, white shirt, and brown hat appears to talk to them. Another woman standing nearby in a dark, slate-gray dress balances a large, dark brown ceramic ewer on her head and reaches to pick up another resting at her feet. Warm yellow light illuminates this scene and the underside of the bridge, and reflects on the river. On the bridge deck above, a brown steer is herded across the bridge by a person wearing a wide brown hat, while three people in red, slate-blue, and white clothing are about to pass through the tower passage on the left. Immediately above them, a woman in a white blouse and head scarf appears at a small balcony with what looks like a red dress draped over it and gestures with an extended arm toward a white cat crouched on a railing below. Another woman to our right, in a brown dress, white blouse, and brown hair, stands at the top of a flight of steps leading up the far side of the tower with her back toward us, and she gazes out at the view. On the water below, a small boat with several people is rowed across the river in the middle distance. In a shadowed area at the foot of the bridge, closer to us, a man stands wearing a pointed hat, blue jacket with buttons, and high boots with a sword tucked under his arm. Behind him, a woman in a dark green dress and kerchief sits on a stone step. Both look toward the scene under the bridge with the washerwomen.
Hubert Robert, known as "Robert of the Ruins," spent eleven years as a student in Rome from 1754 until 1765. During his sojourn he studied at the French Academy, but dedicated most of his energy to sketching the Eternal City and the Roman campagna. He reworked the ideas recorded in his sketchbooks, in drawings, and paintings throughout his career.
In The Old Bridge, Robert used an ancient monument as the basis for his modern composition. The Ponte Salario, which was built in the sixth century, is shown from below. The arch of the bridge, illuminated by a soft pink glow, separates foreground from background space. Through the bridge we see the Roman countryside in the distance. The crumbling pier on the far left has been converted into a contemporary barn.
Robert has combined the grandeur of ancient Rome with the anecdotal. For example, the young man on the right bank admires the washerwoman opposite, while the old woman on the pier entices her cat to return. Robert, by linking present and past under the warm light of the Italian sun, reminds us that bridges are emblems of the passage of time, thus evoking a nostalgia for the glory of ancient Rome.
Born in Paris in 1733, Hubert Robert was a landscape draftsman and painter whose early training was sponsored by members of the Choiseul family, the employers of his parents who were retainers in their household. In 1754 he traveled to Rome in the entourage of France’s new ambassador to the papal court, Étienne François, comte de Stainville, the future duc de Choiseul (1719–1785), a political ally of the marquise de Pompadour (1721–1764). As a special favor, he resided at the Académie de France, where he studied with the school’s master of perspective, the vedutista Giovanni Paolo Panini (Roman, 1691 - 1765) and sought the advice of the printmaker and draftsman Giovanni Battista Piranesi (Venetian, 1720 - 1778). From them he learned to experiment with the complexities of ancient Roman and modern Italian architecture, and in response to their work he learned to arbitrarily combine and contextualize ruins, transposing them into compositions that he filled with erudite references to the distant past and animated with picturesque staffage. He was befriended by his compatriot Jean Honoré Fragonard (French, 1732 - 1806), with whom he drew and painted landscapes in and around Rome. Robert remained in Italy for a decade, returning to Paris in 1765. He would ultimately draw much of his imagery from the studies he made during his Italian sojourn. He was almost immediately admitted to full membership in the Académie royale de peinture et de sculpture.
Topography per se and the direct observation of nature held little interest for Robert; he specialized in capricci, idealized landscape and architectural fantasies. An artist of amazing versatility and technical virtuosity, he painted subject matter ranging from the frivolous to the sublime. He could paint on virtually any scale, from colossal decorations to pictures the size of large miniatures. He developed a rapid alla prima technique in which detail was sacrificed for an overall effect. During the final decades of the ancien régime, the indefatigable Robert was widely recognized not only as one of France’s preeminent landscape and view painters but also as an accomplished and highly resourceful garden designer. His clientele included royalty, the aristocracy, and the wealthiest segments of the middle class, as well as foreign dignitaries. Imprisoned during the French Revolution, he survived the Reign of Terror.
Under the Directoire, Hubert Robert was reinstated in his official position as a curator of the Louvre, serving first as a member of the Conservatoire and, until late 1802, as part of the governing council of the Musée Central des Arts. He helped organize temporary exhibitions in the museum before its official opening in 1801. The artist’s energy never lagged. He exhibited regularly at the Salon until 1798. Hubert Robert died in his studio at Auteuil of an attack of apoplexy on April 15, 1808, at the age of seventy-five. An exhaustive catalogue of his paintings, drawings, and prints would have to account for several thousand works.
________________________________
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...
.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para discutir desafios e possibilidades da guarda compartilhada frente à violência doméstica.
À mesa, psicanalista clínica e representante das ONG's Vozes de Anjos, Todas Marias, Coletivo Mães na Luta, Lutai por nós e Coletivo Voz Materna, Ana Maria Iencarelli.
Foto: Jefferson Rudy/Agência Senado
Permanent Makeup rocking New World Brewery, Ybor City, Tampa, FL - December 25, 2014.
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.
Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts.
Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative candelabra and a clock surmounted by Barye's Roger and Angelica (1840-1846, location unknown; later serial variants) as a mantelpiece garniture.
Barye submitted works to the Salon only rarely after the jury rejected his surtout elements in 1837. Unable to capitalize on that outlet and on royal patronage, which declined after the death of the duc d'Orléans in 1842, he embarked on a new venture that lasted his entire career. He began to market his figurative and ornamental works as small-scale serial bronzes, first through the foundry Maison Besse in 1844, then directly to the public. He then worked in partnership with entrepreneur Emile Martin from 1845 to 1857, after which he proceeded independently. This serial production provided Barye's most widespread and enduring reputation, with casts distributed throughout the United States and Europe during the artist's lifetime. In the process he closely aligned himself with high-quality industrial craftsmanship. He won the coveted Grand Gold Medal for technical excellence for a selection of his serial proofs in the industrial arts section of the Paris Universal Exposition of 1855, while simultaneously garnering accolades in the fine arts section for his bronze Jaguar Devouring a Hare (Musée du Louvre, Paris). In 1863 he became a founder and president of the consultative Commission of the Central Union of the Arts Applied to Industry.
Other professional skills were put to work during the Second Republic and the Second Empire. Beginning in 1848, Barye served as director of plaster casting at the Louvre and curator of the gallery of plaster casts. In 1850 he taught drawing at the agricultural school at Versailles and, from 1854 until his death, he was master of zoological drawing at the Muséum d'Histoire Naturelle, where the young Rodin briefly studied with him in 1863. Simultaneously, his career as a monumental sculptor revived. He received several government commissions during this period: ornamental eagle reliefs for the Pont d'Iéna (1849); a series of decorative masks for the Pont Neuf (c. 1851); four allegorical seated groups (Strength, Order, Peace, and War) for the facade of the Louvre (1854); an allegorical pedimental relief, Napoleon I Crowned by History and the Fine Arts (1857); and a bronze relief with the equestrian portrait of Napoleon III as emperor, à l'antique (1861, destroyed; presentation drawing, Musée du Louvre, Paris, office of the architect-in-chief). Barye received two important government commissions for provincial dynastic equestrian monuments: the imperial Napoleon I surmounting the Bonaparte family monument at Ajaccio, inaugurated in 1865; and a second Napoleon I for Grenoble, a commission of 1862, which he abandoned in 1866. In 1869 Barye executed pairs of monumental lions and tigers in stone for the gates of the Palais de Longchamps at Marseilles.
During the Second Empire Barye was showered with distinctions. He received the Légion d'Honneur in 1833 and was promoted to chevalier in 1855. In 1868 he was elected to the Institut de France. He died in Paris in 1875, and after an elaborate funeral to signal his high artistic stature, Barye was buried at Père-Lachaise Cemetery.
Though also a painter and printmaker, Barye triggered important debate, through his sculpture, about animal subjects, complex narrative, stylistic realism, and the threshold between fine and decorative art. He was a master of anatomical form, whether human or animal. His work became a benchmark for animal sculpture in monumental and table-top format. The latter often conveyed a powerful sense of grand scale, just as his monumental work successfully blended rich materialism, naturalistic detail, and broad rhythms. Barye's advocacy of good design and craftsmanship in serial work that was affordable to the middle class broadened options available to artists, artisans, and patrons alike. His example and success enhanced the modest reputation of animal and small-scale sculpture as "fine art" during the nineteenth century. [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...
.
George Catlin,Born Wilkes-Barre, PA 1796-
died Jersey City, NJ 1872
Máh-to-tóh-pa, Four Bears, Second Chief, in Full Dress, 1832, oil on canvas, 29 x 24 in.
George Catlin described Four Bears, a chief of the Mandan tribe, as an "extraordinary man, though second in office, [he] is undoubtedly the first and most popular man in the nation. Free, generous, elegant and gentlemanly in his deportment---handsome, brave and valiant; wearing a robe on his back, with the history of his battles emblazoned on it; which would fill a book of themselves, if properly translated . . . Máh-to-tóh-pa had agreed to stand before me for his portrait at an early hour of the next morning . . . I looked out of the door of the wigwam, and saw him approaching with a firm and elastic step, accompanied by a great crowd of women and children, who were gazing on him with admiration, and escorting him to my room. No tragedian ever trod the stage, nor gladiator ever entered the Roman Forum, with more grace and manly dignity than did Máh-to-tóh-pa enter the wigwam, where I was in readiness to receive him." The artist painted this portrait at a Mandan village in 1832. (Catlin, Letters and Notes, vol. 1, nos. 13, 21, 1841; reprint 1973)
"If my life be spared, nothing shall stop me from visiting every nation of Indians on the Continent of North America." With these words George Catlin staked his artistic claim. He was the first great painter to travel beyond the Mississippi to paint the Indians, and his Indian Gallery, staggering in its ambition and scope, is one of the wonders of the nineteenth century.
Catlin was just seven years old in 1803 when Thomas Jefferson sent Lewis and Clark on a three-year expedition to explore the newly acquired Louisiana Purchase. In 1830, Catlin made his initial pilgrimage to St. Louis to meet William Clark and learn from him all he could of the western lands he hoped to visit. He would have only a short time to accomplish his goal—to capture with canvas and paint the essence of Indian life and culture. In that same year, the Indian Removal Act commenced the twelve-year action that would remove the remaining Indians from land east of the Mississippi. Within a few years, the Mandan would be decimated by smallpox; with in a few decades, the number of buffalo would drop from millions to a few thousand, and the high prairies would be crosshatched by the plow and the railroad.
When he undertook his first journey, George Catlin turned his back on a first career as a Philadelphia lawyer and a second as a miniaturist. In 1832 he traveled more than 1800 miles up the Missouri River from St. Louis. By the decade's end, he had painted more than 500 portraits, scenes, and landscapes and accumulated an astonishing collection of Indian artifacts. He had exhibited his collection in major American cities, and in 1839 he crossed the Atlantic to display his Indian Gallery in London and eventually Paris and Brussels as well.
Not merely a painter, Catlin also considered himself a scientist, explorer, author, and entrepreneur. While touring with his Gallery, he fell so deeply into debt that he lost almost the entire collection. His compulsion to continue was so strong he re-created more than 400 paintings and undertook further travels to paint 200 additional images covering North and South America. He believed that his Indian Gallery was a national treasure, worthy of preservation by the United States government. Though he did not live to see his wish fulfilled, the original Indian Gallery came to the Smithsonian seven years after his death in 1872.
Brian W. Dippie, et al George Catlin and His Indian Gallery (Washington, D.C., New York, and London: Smithsonian American Art Museum in association with W.W. Norton & Company, 2002)
________________________________
The Smithsonian American Art Museum is the home to one of the most significant and most inclusive collections of American art in the world. Its artworks reveal America’s rich artistic and cultural history from the colonial period to today. The museum’s main building is located at Eighth and G streets N.W., above the Gallery Place/Chinatown Metrorail station. Admission is free.
The museum has been a leader in identifying and collecting significant aspects of American visual culture, including photography, modern folk and self-taught art, African American art, Latino art, and video games. The museum has the largest collection of New Deal art and exceptional collections of contemporary craft, American impressionist paintings and masterpieces from the Gilded Age. In recent years, the museum has focused on strengthening its contemporary art collection, and in particular media arts, through acquisitions, awards, curatorial appointments, endowments, and by commissioning new artworks.
Explore the sweep of the American imagination across four centuries at the nation's flagship museum for American art and craft. Dive into inspiring artworks, the reimagined collection, and an array of special exhibitions including Glenn Kaino: Bridge. Experience our offerings both online and in person at our two locations, including national educational programs, innovative research, video interviews with artists, virtual artist studio tours, lectures, audio guides, and more. Admission is always free.
Since 1968, the National Portrait Gallery has been housed in the former Patent Office building, a structure designed by Robert Mills in the neoclassical style and built between 1836-1867. This historic building, which is the third oldest government building in the city, is shared with another Smithsonian museum, the Smithsonian American Art Museum. The building's marble and granite porticos are inspired by those of the Parthenon in Athens, Greece.
An undulating steel and glass canopy wows visitors who enter the Kogod Courtyard. Inside you’ll find diners from the museum’s café, tourists soaking their weary feet in the shallow fountain running across the space, and students taking advantage of free Wi-Fi in the light and airy setting. The modern roof seals the center of the old Patent Office Building, currently shared by the National Portrait Gallery and American Art Museum. Architect Norman Foster designed the roof to have minimal impact on the building by creating a support system that prevents direct contact and weight placement on it. Unlike most of the other Smithsonian Museums located on the Mall, this gem is found in the busy Penn Quarter of downtown D.C. It is a favorite place to bring visitors, not only for the impressive courtyard space, but also for the preserved architecture of the patent offices on the top floor. Check the Smithsonian’s website for special courtyard workshops, concerts, or events. The museum is right near the Gallery Place/Chinatown Metro on the green, yellow, and red lines.
The Smithsonian American Art Museum showcases rotating exhibits, which have previously exposed visitors to work created in response to the Vietnam War, glasswork, native women artists and more. The Smithsonian American Art Museum also operates a separate branch, the Renwick Gallery, devoted to contemporary craft and decorative arts.
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
Construindo Pontes para um Mundo Mais Sustentável: A Jornada da Auditoria Interna
na Integração de Práticas ESG (Patrícia Marques/TCE-RJ)
Foto: G. Dettmar/Ag. CNJ
Joseph Wright - British, 1734 - 1797
The Corinthian Maid, 1782-1784
West Building, Main Floor — Gallery 61
A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair. The man sits and sleeps on a deep, wood chair. The scene is lit from over our left shoulder so he casts a shadow on the brown wall on which he leans. His right arm, closer to us, hangs by his side with his palm turned to face away from his body. The other arm lies across his bent knee. He wears a harvest-yellow tunic, and a sapphire-blue cloak drapes over his far arm and the thigh closer to us. A long spear rests across one shoulder, and a thin, muted-brown dog, like a greyhound, sleeps on the ground by the man’s side. The woman leans one knee onto the chair and reaches out with a stylus to capture the man’s shadow. She is barefoot and smiles gently at his face. She also wears a dark yellow dress, which exposes one bare shoulder. A mauve-pink cloth wraps over one shoulder and the bent thigh. A deep red curtain bunched up in the upper left corner hides the light source. An urn, nearly as tall as the chair, stands behind the man and another is tipped over behind the woman. An arched opening leads into a darkened room to our right. Rectangles of red and white seen through the top of a pointed arched window there are difficult to interpret. A table and some shelves with more urns are deep in the shadows.
Joseph Wright was born in Derby on 3 September 1734, the third son of John Wright and Hannah Brookes. He trained with Thomas Hudson from 1751 to 1753, returned to Derby as a portraitist, but, "not being satisfied with himself," again studied under Hudson between 1756 and 1757, forming a lasting friendship with his fellow pupil John Hamilton Mortimer. He toured the East Midlands as a portrait painter in 1769 and worked in Liverpool from 1768 to 1771; otherwise he practiced in Derby, and the bulk of his output was portraiture. In the mid-1760s he began painting "Candlelight" pictures, his own phrase, chiefly of scientific subjects. He quickly achieved a high reputation in this field, in which he was an innovator. He first exhibited at the Incorporated Society of Artists in 1765, showing there regularly until 1776, when he transferred to the Royal Academy. In 1773 he married Anne Swift, "a person in an inferior station of life;" the couple had six children.
Wright spent nearly two years in Rome, from 1773 to 1775, where he was overwhelmed by the remains of classical antiquity and drew assiduously; on his way home he stopped briefly in Florence, Bologna, Venice, and other centers. When he returned, Wright abandoned his scientific and industrial scenes in favor of landscapes and literary subjects. After a disastrous two years in Bath, where he had hoped to take the place of Gainsborough, who had left for London in 1774, Wright settled in his native Derby. He was elected an Associate of the Royal Academy in 1781 but, after being defeated by Edmund Garvey for full Academicianship in 1783 and feeling constantly dissatisfied with the way his pictures were hung, he declined election the following year and resigned as an Associate. In 1785 he followed Gainsborough's example and held his own exhibition of his works (at Robin's auction rooms in London).
Wright was most at ease in provincial middle-class society, who were his clients, and was in close contact with the Lunar Society (a group interested in experimental science) and with leaders of the Industrial Revolution in the Midlands. From early middle age he suffered from chronic ill health, which frequently incapacitated him for months. His last years were marred by a plethora of complaints, and he died in Derby on 29 August 1797.
________________________________
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...
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
Construindo Pontes para um Mundo Mais Sustentável: A Jornada da Auditoria Interna
na Integração de Práticas ESG (Patrícia Marques/TCE-RJ)
Foto: G. Dettmar/Ag. CNJ
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
O Papel da Inteligência Artificial na Transformação da Auditoria:
Oportunidades e Desafios (Tiago Chaves Oliveira/CGU)
Foto: G. Dettmar/Ag. CNJ
03.06.2021 - Imunização de pessoas com comorbidades definidas e pacientes com deficiência permanente de 18 a 59 anos - Foto Michel Corvello
A Young Man Seated at a
Table (possibly Govaert Flinck) - c. 1660
Rembrandt van Rijn
Dutch, 1606 - 1669
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.
This painting of a stylish young man is one of Rembrandt's most sympathetic late portraits. The sitter's handsome features and gentle expression, framed by the long locks of his hair, suggest warmth and sensitivity. At the same time, the understated simplicity of his dress — from the plain white collar, left open at the neck, to his black costume and hat — reinforces the sense of self-assurance so evident in the pose. The name of the sitter is not known, and the signature and date are extremely difficult to decipher. Stylistically, a date of about 1660 seems correct for this work.
This portrait may represent the artist Govaert Flinck (1615–1660), as it resembles an engraved portrait of Flinck made by an unknown artist. At the time of his sudden death in February 1660, Flinck was at the height of his fame. Following his studies with Rembrandt in the mid-1630s, he became a successful portrait and history painter in a style that was admired by important civic and private patrons in both Amsterdam and his native Germany. Flinck was wealthy and well connected, and had a remarkable art collection. The emotional warmth of this portrait suggests that the contacts between the sitter and Rembrandt were personal as well as professional.
Rembrandt Harmensz van Rijn, born in Leiden on July 15, 1606, was the son of a miller, Harmen Gerritsz van Rijn, and his wife, Neeltgen van Zuytbrouck. The youngest son of at least ten children, Rembrandt was not expected to carry on his father’s business. Since the family was prosperous enough, they sent him to the Leiden Latin School, where he remained for seven years. In 1620 he enrolled briefly at the University of Leiden, perhaps to study theology. Orlers, Rembrandt’s first biographer, related that because “by nature he was moved toward the art of painting and drawing,” Rembrandt left the university to study the fundamentals of painting with the Leiden artist Jacob Isaacsz van Swanenburgh (1571–1638). After three years with this master, Rembrandt left in 1624 for Amsterdam, where he studied for six months under Pieter Lastman (1583–1633), the most important history painter of the day.
After returning to Leiden, Rembrandt quickly developed a reputation as a history painter and portraitist. By 1628 his work, together with that of his Leiden colleague Lievens, Jan, was enthusiastically praised by Constantijn Huygens (1596–1687), the secretary to the Prince of Orange. Huygens particularly admired Rembrandt’s uncanny ability to convey feeling through gesture and expression and through dramatic contrasts of light and dark. That same year, Rembrandt, at the age of twenty-two, took on his first pupils, Dou, Gerrit and Isaac Jouderville (1612–1645/1648). Documents indicate that Jouderville paid Rembrandt one hundred guilders a year to study with him.
By 1631 Rembrandt had become financially involved with the Amsterdam art dealer Hendrik van Uylenburgh (c. 1587–1661). The nature of Van Uylenburgh’s enterprise, which was called “an academy” in its day, is not entirely understood, but it appears that he orchestrated an active art studio that specialized in portrait commissions. In any event, in about 1632 Rembrandt moved to Amsterdam, where he lived with Van Uylenburgh and ran his “academy” until 1635. Rembrandt achieved tremendous success in his lifetime. He received many commissions and attracted a number of students who came to learn his method of painting. Artists who had previously been trained elsewhere, including Jacob Backer (1608–1651), Flinck, Govaert, and Bol, Ferdinand, worked during these years at Van Uylenburgh’s studio under Rembrandt’s guidance.
In 1633 Rembrandt became engaged to Van Uylenburgh’s niece Saskia, daughter of a wealthy and prominent Frisian family. They married the following year. In 1639, at the height of his success, Rembrandt purchased a large house on the Sint-Anthonisbreestraat in Amsterdam for a considerable amount of money. To acquire the house, however, he had to borrow heavily, creating a debt that would eventually figure in his financial problems of the mid- 1650s. Rembrandt and Saskia had four children, but only Titus, born in 1641, survived infancy. After a long illness Saskia died in 1642, the very year Rembrandt painted The Night Watch (Rijksmuseum, Amsterdam).
During the 1640s life became more unsettled for Rembrandt. Geertje Dirckx soon entered the household as a nurse for Titus and became a companion to Rembrandt. In 1649 he dismissed her and entered into a relationship with Hendrickje Stoffels that would last until her death in 1663. While Hendrickje seems to have been a warm and caring companion for Rembrandt, the early 1650s were fraught with personal turmoil. Rembrandt and Geertje Dirckx became embroiled in a number of contentious lawsuits that suggest he treated his former companion quite badly. Rembrandt and Hendrickje never married because of a stipulation in Saskia’s will that he was bound to transfer half of his and Saskia’s joint assets to Titus should he remarry.[1] After Saskia’s death, the net value of their assets was determined to be more than forty thousand guilders. Presumably in the early 1650s Rembrandt did not have twenty thousand guilders to give to Titus. Being unmarried caused Hendrickje public humiliation when she became pregnant in 1654. She was called before a council of the Dutch Reformed Church and censored for having “lived with Rembrandt like a whore.” The couple’s daughter, Cornelia, was baptized on October 30, 1654.
Perhaps as a result of the public outrage over his domestic situation or his treatment of Geertje Dirckx, Rembrandt lost favor with many of his patrons and became burdened by financial difficulties during these years. In 1656 he was forced to declare bankruptcy, which led to the auctioning off of his estate, including his large art collection, in 1657 and 1658. He then moved to an artist’s quarter in the Jordaan district of Amsterdam, eventually renting a relatively small house on the Rozengracht where he lived for the rest of his life. Hendrickje and Titus subsequently formed a business partnership to protect Rembrandt from further demands of creditors.
Although Rembrandt still received a number of important portrait commissions during the late 1650s and early 1660s, stylistic trends had veered away from his deeply personal manner of painting. He became more and more isolated from the mainstreams of Dutch art. No students are documented as having worked with him during the latter half of the 1650s, and only one student, Aert de Gelder (1645–1727), is known to have come to study with him in the 1660s.
Rembrandt’s financial situation remained poor during the 1660s. He owed a substantial amount of money, in particular to the art dealer and collector Lodewijk van Ludick, a debt he hoped to repay with the money he would receive from his large painting for one of the lunettes in the Amsterdam Town Hall, The Conspiracy of Claudius Civilis (Nationalmuseum, Stockholm). Rembrandt’s composition, however, was rejected by city authorities in 1662. To raise funds he was then forced to sell Saskia’s grave in the Oude Kerk. He never regained financial solvency and ended up living on the savings of his daughter, Cornelia.
Although Rembrandt remained famous as an artist, there seems to have been little to lighten the burdens of his life during his last years. In 1663 the plague ravaged Amsterdam and claimed the life of Hendrickje. Four years later Titus married Magdalena van Loo, but in 1668 he also died, the victim of another epidemic. When Rembrandt died on October 4, 1669, he was buried in a rented grave, which has long since disappeared, in the Westerkerk, Amsterdam.
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Permanent Makeup rocking New World Brewery, Ybor City, Tampa, FL - December 25, 2014.
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.
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
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
Construindo Pontes para um Mundo Mais Sustentável: A Jornada da Auditoria Interna
na Integração de Práticas ESG (Patrícia Marques/TCE-RJ)
Foto: G. Dettmar/Ag. CNJ
A student draws the outline for a lip procedure. The client will then take a look at it and decide if it's the perfect shape.