View allAll Photos Tagged permanent
Hugo de Zela, Ambassador, Permanent Representative of Peru to the OAS
Date: June 29, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Allan Culham, Ambassador, Permanent Representative of Canada to the OAS
Date: May 8, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Ricardo Kellman, First Secretary, Alternate Representative of Barbados to the OAS
Date: April 10, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Stephane G. Stathatos, Acting Permanent Representative of Greece to the United Nations, is seen as he met with Stanislaw Trepczynski (Poland), President of the General Assembly at United Nations Headquarters today.
UN Photo/Saw Lwin
5 December 1972
New York, United States of America
Photo # UN7725954
14-21 November, 2013. Pamela Branas, Micheal Graham, Sophie Hague, Sharon Kitching, Lena Obergfell, Cathy Weiszmann
Pathway Home participants sign a master lease for permanent housing on November 21, 2023. (Mayra Beltran Vasquez/ Los Angeles County)
On August 22-24, LA County conducted its second Pathway Home encampment resolution (the first to focus on RVs) in the unincorporated area of East Gardena bordering West Rancho Dominguez, which has one of the densest concentrations of RVs countywide. The operation brought 58 people into interim housing, a hotel operated by our contracted service provider, SJC. It also took 30 RVs off the streets.
At the hotel, LA County offers them supportive services such as on-site case management and connections to physical and mental healthcare, substance use disorder treatment, benefits enrollment, life skills development, and more. LA County has committed to continue providing supportive services even after they move into permanent housing.
On Nov. 20-21 – just days before Thanksgiving – 20 Pathway Home clients will move into permanent housing at 1619 Firestone Ave. in unincorporated South LA. The apartments are brand new, prefab modular construction.
LAHSA is master leasing the site with funding from LA County’s partnership with the largest local managed care plans, L.A. Care and Health Net, called the Housing and Homelessness Incentive Program (HHIP).
The Committee of Permanent Representatives to ASEAN (CPR) and Deputy-Secretary-General of ASEAN for ASEAN Political-Security Community (DSG APSC) met with Vice Chairman of China International Development Cooperation Agency (CIDCA). Both sides discussed ASEAN-China cooperation particularly development and technical collaboration. The Meeting encouraged robust activities to be undertaken to implement the recently signed Agreement on Technical Cooperation between China and ASEAN.
Image Credit: ASEAN Secretariat
Permanent Makeup rocking Andy's Birthday Show presented by ThxMgmt at New World Brewery, Ybor City, Tampa, FL - January 12, 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.
Diego Pary, Ambassador, Permanent Representative of Bolivia to the OAS
Date: June 22, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Hundreds of refugees from across the country converged on Parliament House to demand that Albanese keeps his pre-election promise to provide permanent protection to end the long nightmare of 30,000 refugees on TPV's and other temporary visas without rights to family reunion.
Khrystyna Hayovyshyn (at podium), Deputy Permanent Representative of Ukraine to the United Nations, briefs reporters at UN Headquarters.
UN Photo/Manuel Elías
24 October 2025
New York, United States of America
Photo # UN71122718
Nanny and Child, 1877/1878
Eva Gonzalès
West Building, Main Floor — Gallery 89
Born into a wealthy Parisian family, Eva Gonzalès focused on the experiences of upper-class women, drawing from her own observations. This painting presents a familiar scene of domestic life: a nanny tending to her charge. Seated in a garden on a lazy summer day, the nanny seems distracted. Like the parasol lying at her feet, her responsibilities are briefly forgotten. The little girl plays nearby, also lost in her own world. Is Gonzalès drawing parallels between the two?
Although a close associate of the impressionists who shared their dedication to the portrayal of modern life, Eva Gonzalès never participated in their group exhibitions. Born into an artistic family—her father was a well-known writer and her mother an accomplished musician—Gonzalès discovered her vocation at an early age. In 1865, the sixteen-year-old Gonzalès began her formal studies under Charles Chaplin, a society painter who ran a well-known art studio for women. She remained under his tutelage for two years.
In February 1869, Gonzalès was introduced to Edouard Manet. He painted her portrait and she soon became his student, the only one that Manet ever acknowledged. Manet’s influence was profound. Like her mentor, Gonzalès revealed a marked preference for subjects drawn from modern life, but it is in her technique with its emphasis upon overall tonal relationships and the privileging of form over detail that Manet’s influence is truly felt. This is particularly apparent in early works such as The Little Soldier (Musée Gaston Rapin, Villeneuve-sur-Lot), the painting with which she made her debut at the Salon of 1870.
Nanny and Child is perhaps Gonzalès’ most accomplished work. Executed at Dieppe, a locale Gonzalès frequented throughout the 1870s, this painting is a subtle, yet unmistakable homage to Manet’s great painting The Railway (1956.10.1). Gonzalès used the same compelling interplay of figures: the seated nanny who gazes out at the viewer and a young charge who grasps the bars of a fence, her body turned away and her features shown in lost profile. As in Manet’s painting, the brushwork here is lush, the forms vigorously drawn and detail minimized, the palette restrained and low key.
Most striking, however, are the ways in which Gonzalès consciously diverged from Manet’s model. Whereas Manet’s work feels somewhat claustrophobic, with figures trapped between the shallow foreground and the black metal bars of the fence behind them, Gonzalès’ painting delights in open space. Despite the summary depiction of the garden, she reveals a sensitivity to the play of sunlight as it peeks through the trees and dapples the ground, suggesting that she may have painted the work at least in part out of doors. Consequently, the figures seem to inhabit a landscape, rather than pose against a backdrop. Nanny and Child is not a mere imitation of Manet’s painting, but a thoughtful and highly original response to the subject, reimagined and transformed into something entirely new and undeniably her own.
This painting was first exhibited at the Paris Salon of 1878, where it was shown under the title Miss et bébé. Contemporary audiences would have easily recognized the allusion to the nanny’s English nationality, a sign of wealth and prestige in a class-conscious society. Critical response to the work was mixed. While the writer Eugène Véron considered the little girl pretty and the overall composition satisfying, he found the modeling of the nanny lacking and likened her to a Japanese print, which was viewed as negative at the time. The critic Castagnary was more appreciative, however, admiring Gonzalès’ ability to capture nature in rapid strokes. Gonzalès’ career was brief. She died during childbirth in 1883 at the age of thirty-four, just six days after the death of her mentor Manet. Gonzalès left behind a modest oeuvre of paintings and pastels; eighty-eight of them, including Nanny and Child, were shown in a posthumous retrospective held at the Salons de la Vie Moderne.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Part of the railroad museum in Savannah, Georgia that hasn't been refurbished yet. Taken with Fuji slide film cross processed.
Edouard Vuillard - French, 1868 - 1940
Théodore Duret, 1912
West Building, Main Floor — Gallery 86
We look slightly down onto a balding, bearded man with pale, peachy skin and wearing a three-piece suit, seated in a wooden armchair behind an L-shaped desk, in this loosely painted vertical portrait. A tabby cat with a white chest sits on his lap. The room around them is packed with piles of papers, books, and paintings hung on scarlet-red walls. The man’s body faces us, and he looks off to our right under dark, bushy, peaked eyebrows. His round head is fringed with gray hair, and he has a full, light gray beard. His gray eyes are bloodshot beneath heavy lids, with dark rings underneath. He has a short nose, and the flesh of his cheeks hangs in loose paunches alongside his nose. Close inspection finds strokes of plum and lavender purple, mint and sage green, and ice blue creating highlights and shadows on this face. His left hand, to our right, hangs loosely over the arm of the chair, while his other hand gently rests around the chest of the small cat that sits on his lap. The man wears a chocolate-brown jacket over a charcoal-gray vest, and a dark bowtie with a white shirt that just shows at his throat and wrists. Reams of pink, yellow, white, green, and gold paper are arrayed on the desk in front of the man, and in tall, uneven piles to his left, with more on a chair against the wall behind him. A small paperweight globe of multicolored glass on a brass base rests on one sheet of paper on the desk. Two small and one large gilt-framed portraits hang on the velvety red wall in the background, and others are reflected in a gilt-framed mirror at the upper right corner of the painting. A white door with four horizontal panels is closed behind the man at the upper left corner. The brushwork in the painting is quick and loose, with touches of contrasting colors throughout. The artist signed and dated the lower left corner, “E. Vuillard 1912.”
Vuillard's work straddles two centuries: he was a major post-impressionist in the 1890s, as well as a participant in the renewal of decorative art before and after 1900. Vuillard was one of the central figures of "Les Nabis" ("Nabi" means "prophet" in Arabic and Hebrew), a group of Parisian avant-garde artists whose members included Pierre Bonnard and Félix Vallotton, among others. During the Nabi period Vuillard produced some of his best-known work--provocative paintings of middle-class interiors and contributions to avant-garde theater.
Vuillard also worked steadily through his post-Nabi years, from 1900 until his death in 1940. He experimented increasingly with abstraction and powerful color in a manner that bears comparison with Henri Matisse and the Fauves. In the latter decades of his life he expanded his range in natural light, landscape, and portraiture.
________________________________
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 Andy's Birthday Show presented by ThxMgmt at New World Brewery, Ybor City, Tampa, FL - January 12, 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.
Poder Ejecutivo instaló Comisión Multisectorial Permanente de Lucha contra la Tala Ilegal, preside el Alto Comisionado en Asuntos de Lucha contra la Tala Ilegal, César Fourment.
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.