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Permanent art collection and temporary exhibitions. Major shows and collections of ancient to modern art. Houses famous Kohler Art Library. Dedicated Sept. 1970.
Shown is a portion of a scale model of the Moton 2011 Permanent Exhibit, to be housed in The Robert Russa Moton Museum in Farmville, Virginia.
The Moton 2011 Exhibit will open on April 23, 2011, 60 years after the historic 1951 student walkout, led by 16-year-old junior Barbara Johns, in protest of inferior educational facilities.
The Moton strike launched Prince Edward County’s 13-year struggle for Civil Rights in Education and resulted in the filing of Davis v. Prince Edward, which called for an end to racial segregation in public education. Davis was decided, along with four other cases, in the landmark 1954 Brown v. Board Supreme Court decision.
The Permanent Exhibit will offer the only place in Virginia where visitors can come to understand the processes by which citizens and their national, state, and local governments resolved the policy issues of segregation in public education.
Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Estudos dos Casos:
Auditoria em Riscos Psicossociais (NR-1) (Maurício Borba – TRT 5).
Auditoria em Segurança da Informação (Bruno Paschoal e Rubia Santos – TRE-SP)
Consultoria em LGPD (Fabrício dos Reis Santos – TJMG).
Foto: Rômulo Serpa/CNJ
Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Apresentação das práticas candidatas ao Prêmio Auditoria Geração de Valor – Eixo III.
Foto: Rômulo Serpa/CNJ
The GM name has always been part of Moraine, Ohio. But the town is recovering after GM closed its truck assembly plant here last year.
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública para debater a normatização do acesso das pessoas com doenças raras a medicamentos, dispositivos médicos e tecnologias no âmbito do Sistema Únio de Saúde (SUS).
Mesa:
defensor público federal Ricardo Emílio Pereira Salviano;
diretor de Relações Governamentais do Sindicato da Indústria de Produtos Farmacêuticos (Sindusfarma), Renato Benine.
Foto: Marcos Oliveira/Agência Senado
Ammi Phillips - American, 1788 - 1865
The Strawberry Girl, c. 1830
West Building, Main Floor — Gallery 63
Ammi Phillips painted for more than fifty years, producing perhaps as many as two thousand portraits in so many disparate styles that his works were once thought to be by several different artists. Currently about five hundred works can be attributed to him, most sharing the characteristics of plain backgrounds, strongly contrasting light and dark elements, and awkwardly articulated figures.
Born in Colebrook, Connecticut, in 1788, Phillips traveled often through western Connecticut and Massachusetts and through New York state. Advertisements in the Berkshire Reporter indicate that he was offering his services as a professional artist in Pittsfield, Massachusetts, as early as July 1809. His earliest identified works, for example his full-length portraits of Charles Rollin and Pluma Amelia Barstow, painted in Great Barrington, Massachusetts, in 1811, may have been influenced by Connecticut limners active in the late eighteenth century, particularly J. Brown (active 1806-1808) and Reuben Moulthrop (1763-1814). By 1813 the artist and his wife were settled in Troy, New York, shortly thereafter moving to Rhinebeck. The portraits of this period (1812-1819), all of which were executed in towns along the New York-Massachusetts border, were once given to a hand called "The Border Limner." They are distinguished by a light, almost pastel palette, three-quarter or occasionally full-length figures, faces with dark-lined eyes, and a primitive attempt at conveying volume.
In the next decade Phillips' paintings show greater realism, deeper coloring, and increased sophistication. He evidences a new interest in costume that may derive from contact with the academic Albany artist Ezra Ames (1768-1836), who lavished attention on the shawls and lace in his women's portraits.
During the early 1830s Phillips was located in Amenia, New York, and painted in nearby Clermont, Rhinebeck, Germantown, Pine Plains, and Northeast. In 1836 he left for Kent, Connecticut, the town which gave its name to another distinctive period (1829-1838) of Phillips' career. The work of the so-called "Kent Limner" was first isolated when a group of ancestral portraits were brought together for a 1924 summer fair in that town. Among them were eight which shared markedly similar characteristics.
After 1840, Phillips' portraits contain less costume detail. These later paintings were apparently executed rapidly and with great assurance. The last of Phillips' work, those of the 1860s, inevitably show the influence of photography.
When the newly widowed Phillips was married to his second wife in 1830, the record listed his occupation as "portrait painter." Unlike many untrained portraitists who had to resort to other means to supplement their income, Phillips seems to have pursued a single vocation. Although he and his family never settled in one town for any great length of time, he was far from a struggling itinerant. He generally painted several members of the same family and through these connections seems to have had a steady flow of work. He was known to the academically trained painter John Vanderlyn, who commented to his nephew on the profitable and socially advantageous aspects of Phillips' craft.
A century after his death in 1865 in Curtissville, outside of Stockbridge, Massachusetts, Phillips was given his first one-man exhibition, followed by a major comprehensive show three years later. Today he is recognized as the most prolific and one of the most important naive portraitists in nineteenth-century America
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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...
..
________________________________
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...
.
Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
La Diputación Permanente presidida por la diputada Leticia Mejía García convocó a la 59 Legislatura mexiquense a su décimo periodo extraordinario de sesiones, el próximo jueves 23 de agosto.
Claude Monet - French, 1840 - 1926
The Artist's Garden in Argenteuil (A Corner of the Garden with Dahlias), 1873
West Building, Main Floor — Gallery 82
A bank of flowering bushes, possibly roses, fills most of an enclosed garden in front of a white house in this horizontal landscape painting. The scene is created using visible dabs and strokes of scarlet red, pale yellow, rust orange, and shell pink for the roses and kelly, teal, and forest green for the greenery. The cloud of flowers fills most of the left two-thirds of the composition, and dabs of shamrock and moss green and delphinium blue indicate grass and other plants around it. To our right of the roses, a couple walks near a fence in the distance. Painted with only a few strokes and touches of paint, one person wears a white dress and hat, and the other a dark gray suit and hat. A celery-green tree grows up the right edge of the canvas and curves toward the ivory-white, three-story house. The upper story is tucked under a pitched, ash-brown roof, and aquamarine-blue shutters flank the windows. More trees surround the house and line the fence. Brushstrokes in white and nickel gray suggest clouds against the ultramarine-blue sky. The artist signed and dated the painting in black near the lower left corner: “Claude Monet 73.”
Claude Monet, born in Paris in 1840, was raised on the Normandy coast in Le Havre, where his father sold ships’ provisions. He gained a local reputation as a caricaturist while still a teenager, and landscape painter Eugène Boudin invited the budding artist to accompany him as he painted scenes at the local beaches. Boudin introduced Monet to plein air (outdoor) painting, which would prove a decisive influence in his career.
Monet went to Paris in 1862 to study painting and there befriended fellow students Auguste Renoir, Alfred Sisley, and Frédéric Bazille, who would later form the core group of the original impressionists. By the end of the 1860s Monet had largely abandoned ambitious, large-scale figurative painting in favor of smaller, spontaneous landscape works executed en plein air.
Monet fled to London during the Franco-Prussian War, and in late 1871 settled at Argenteuil, a suburb just west of Paris that maintained its rustic charm even as it underwent rapid modernization. From 1872 to 1876 Argenteuil became the hub of what would soon be known as impressionist painting. Monet and his colleagues organized an exhibition of their work in Paris in 1874; one of Monet’s exhibited works, Impression, Sunrise (1873), a loosely painted sketch of an industrial seascape, led critics to derisively dub the group “the impressionists.” Financial difficulties forced Monet to relocate to Vétheuil in 1878, and a few years later, in 1883, he settled in Giverny, where he would live for the rest of his life.
Most of Monet’s paintings from the 1870s depict the landscape in and around the small towns along the Seine. Executed outdoors, he employed seemingly spontaneous brushstrokes to capture the ever-changing effects of light and atmosphere. In the 1880s Monet expanded his motifs, turning his attention both to the Mediterranean and to the rugged vistas along the Normandy coast. In the 1890s he undertook a number of paintings produced in series, including pictures of poplars, grainstacks, and Rouen Cathedral; each work captured a specific atmospheric effect and time of day. With his reputation as France’s leading landscape painter established and his financial situation secure, the artist turned his attention to the lavish gardens he had constructed at Giverny, eventually creating more than 250 works focused on water lilies.
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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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Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Estudos dos Casos:
Auditoria em Riscos Psicossociais (NR-1) (Maurício Borba – TRT 5).
Auditoria em Segurança da Informação (Bruno Paschoal e Rubia Santos – TRE-SP)
Consultoria em LGPD (Fabrício dos Reis Santos – TJMG).
Foto: Rômulo Serpa/CNJ
Danny Danon, Permanent Representative of Israel to the United Nations, briefs reporters at UN Headquarters.
UN Photo/Loey Felipe
1 October 2024
New York, United States of America
Photo # UN71069931
Permanent Secretary Ingabire Assumpta joins residents of Nyarugenge District for Kwibuka 25 I 13/04/2019
O Conselho Nacional de Justiça – CNJ realiza, com apoio dos órgãos do Sistema de Auditoria Interna do Poder Judiciário – SIAUD-Jud, a quarta edição do Fórum Permanente de Auditoria do Poder Judiciário, nos dias 30, 31 de julho e 1º. de agosto no Auditório do CNJ
O evento teve por objetivo debater temas práticos e teóricos relacionados à atividade de auditoria, além de difundir as melhores práticas adotadas pelos órgãos públicos, elevando, portanto, o conhecimento dos servidores do Poder Judiciário para um patamar que permita a constante melhoria da avaliação dos processos de gerenciamento de riscos, de controles internos, de integridade e de governança.
Palestra sobre o uso de ferrramentas de tecnologia na auditoria interna, Encerramento da Votação ao Prêmio Auditoria de Geração de Valor, Apresentação da estratégia do SIAUD-Jud e dos resultados da Ação Coordenada de Auditoria de 2025 - Secretaria de Auditoria do CNJ, Premiação e Encerramento
Foto: Pedro França/Agência CNJ
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Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência interativa para tratar da implementação da INDC brasileira: políticas públicas e legislação. Foram convidados, o secretário de Mudanças Climáticas e Qualidade Ambiental do Ministério do Meio Ambiente e representantes do WWF Brasil e do Centro Brasil no Clima.
Mesa (E/D):
Everton Frask Lucero;
secretário de Mudanças Climáticas e Qualidade Ambiental, José Domingos Gonzalez Miguez;
presidente da CMMC, deputado Daniel Vilela (PMDB-GO);
vice-presidente da CMMC, senador Fernando Bezerra Coelho (PSB-PE);
diretor-executivo do Centro Brasil no Clima (CBC), Alfredo Sirkis
superintendente-executivo de Políticas Públicas e Relações Exteriores da WWF-Brasil, Henrique Lian
Foto: Waldemir Barreto/Agência Senado
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