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Thomas Cole - American, 1801 - 1848
The Voyage of Life: Old Age, 1842
West Building, Main Floor — Gallery 60
A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting. The man and angel both have light skin. The man wears a crimson-red tunic and has a fringe of white curls and a long, white beard. He holds his hands up, palms facing out, as he looks toward the light in the upper left corner of the canvas. His golden boat is made up of wings and human bodies facing inward, the rudder and figurehead at the bow broken off. The man glides from low, jagged rocks in the lower right corner onto placid waters. Floating above the man and slightly to our left, the angel has long golden hair, a flowing white tunic, lilac-purple wings, and a bright starburst at the forehead. The angel gestures up to the shaft of light, where another angel has swept down into the cloud bank. Dozens of touches of white paint farther up in the clouds, closer to the light in the top left, suggest more angels descending toward the scene below. Concentric rings of clouds darken from butter yellow in the upper left to pale mauve and muted plum purple across the landscape. The artist signed the painting as if he had inscribed his name and date on a rock near the lower left, “T. Cole 1842.” A second inscription, to the right of center along the lower edge on another rock, reads “Rome.”
Cole's renowned four-part series traces the journey of an archetypal hero along the "River of Life." Confidently assuming control of his destiny and oblivious to the dangers that await him, the voyager boldly strives to reach an aerial castle, emblematic of the daydreams of "Youth" and its aspirations for glory and fame. As the traveler approaches his goal, the ever-more-turbulent stream deviates from its course and relentlessly carries him toward the next picture in the series, where nature's fury, evil demons, and self-doubt will threaten his very existence. Only prayer, Cole suggests, can save the voyager from a dark and tragic fate.
From the innocence of childhood, to the flush of youthful overconfidence, through the trials and tribulations of middle age, to the hero's triumphant salvation, The Voyage of Life seems intrinsically linked to the Christian doctrine of death and resurrection. Cole's intrepid voyager also may be read as a personification of America, itself at an adolescent stage of development. The artist may have been issuing a dire warning to those caught up in the feverish quest for Manifest Destiny: that unbridled westward expansion and industrialization would have tragic consequences for both man and nature.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 95-108, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Thomas Cole, America's leading landscape painter during the first half of the nineteenth century, was born on February 1, 1801 in Bolton-le-Moor, England. Before emigrating with his family to the United States in 1818, he served as an engraver's assistant and as an apprentice to a designer of calico prints. Cole worked briefly as an engraver in Philadelphia before joining his family in Steubenville, Ohio, in 1819. While in Ohio he apparently learned the rudiments of oil painting from an itinerant portrait painter named Stein. In 1823, during a stay in Pittsburgh, Cole began drawing from nature, creating closely observed and intensely expressive images of trees and branches. Later that year he returned to Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts and worked in a variety of art-related jobs.
In April 1825 Cole moved to New York, where his family had also relocated. That summer he made an extensive sketching tour up the Hudson River and into the Catskill Mountains. In late October 1825 three of his landscapes were sold to three prominent figures in the young nation's art community, John Trumbull (1756-1843), William Dunlap (1766-1839), and Asher B. Durand (1796-1886). In January 1826 Cole was elected a founding member of the National Academy of Design, and his works were increasingly in demand with leading patrons such as Daniel Wadsworth (1771-1848) of Hartford and Robert Gilmor, Jr. (1774-1848) of Baltimore.
Although Cole had ample commissions in the late 1820s to paint pictures of American scenery, his ambition was to create a "higher style of landscape" that could express moral or religious meanings. His first major efforts in this vein met with mixed reviews, and he decided study and travel in Europe were necessary. In June 1829 Cole sailed for England, where he studied the works of Old Masters and also met Joseph Mallord William Turner (1775-1851) and John Constable (1776-1837). He subsequently traveled in France and in Italy, with lengthy stays in Rome and Florence. While in Italy he conceived of a multi-part landscape series tracing the rise and fall of an archetypal civilization. Although he failed to interest Gilmor in commissioning the series, upon his return to America in 1832 Cole did manage to convince the retired New York merchant Luman Reed (1785-1836) to support his grand project. The result, the five canvas Course of Empire (New-York Historical Society), was completed in 1836 and received considerable popular attention and generally favorable reviews.
Cole continued to paint American landscapes in the 1830s and early 1840s, but much of his energy in these years went into the creation of complex imaginary works such as The Departure and The Return (1837, National Gallery of Art, Washington, D.C., Corcoran Collection) and the two versions of The Voyage of Life (1839-1840, Munson-Williams-Proctor Institute, Utica, and 1842, National Gallery of Art, Washington, D.C.). In 1836 he married Maria Barstow and settled in Catskill, New York, a small village on the west side of the Hudson and close to the Catskill Mountains. That same year Cole, who was throughout his career a prolific writer of prose and poetry, published his "Essay on American Scenery" in the American Monthly Magazine, in which he expressed many of his most deeply felt convictions about landscape painting.
In 1841 Cole make a second trip abroad, with extensive travel in Italy, including a memorable visit to Sicily that resulted in several views of Mt. Etna. He returned to Catskill in 1842; in 1844 he accepted the young Frederic Edwin Church as a pupil on Daniel Wadsworth's recommendation. In the mid and late 1840s Cole painted many impressive American landscapes, which are notable for an increased accuracy in the depiction of atmosphere and light. At the same time he labored, ultimately without success, to complete a five-part series called The Cross and the World, in which he endeavored to portray the individual's quest for spiritual knowledge and salvation.
Cole's premature death in Catskill on February 11, 1848, was universally mourned and a comprehensive memorial exhibition of his works was quickly organized in New York. His influence on the course of American landscape painting was profound and his works influenced numerous younger painters who matured in the late 1840s and early 1850s, most notably Jasper F. Cropsey and Church.
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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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________________________________
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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amusement park 2012 Permanent World's Fair
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...
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
Amsterdam Harbor Scene - c. 1654/1655
Reinier Nooms, called Zeeman
Dutch, 1623 or 1624 - 1664
Reinier Nooms, an Amsterdam painter and graphic artist also known as Reinier Zeeman (which means seaman), specialized in maritime subjects. His career coincided with the heyday of Dutch commercial and maritime power in the 17th century, and Amsterdam’s bustling harbor in the IJ estuary provided Nooms with much of his artistic inspiration.
The billowing clouds, fluttering flags, and slightly choppy waters give life to this engaging view of Amsterdam’s harbor. A warship and several merchant ships are tied up inside the breakwater for maintenance and repairs. A man on a temporary platform works on the hull of the three-master to the left of center, while his colleague tends to a vat of hot tar on a floating dock. Two women have tied their skiff to the dock to do laundry in the harbor’s waters.
This painting celebrates a powerful Amsterdam family and its link to an important warship owned by the city’s Admiralty. The castle depicted on the ship’s tafferel (the painted panel on the stern) identifies it as the Huis te Swieten, which was built in 1653 and captured by the English in 1665. The warship served as the flagship of Michiel de Ruyter, one of Holland’s greatest naval heroes, on three expeditions in the 1650s.
The Huis te Swieten was named after the country estate of burgomaster Cornelis Bicker (1592–1654), a wealthy merchant and a member of the most powerful family in Amsterdam in the 1650s. Cornelis’s brother Jan Bicker (1591–1653) operated a thriving shipbuilding enterprise on a newly reclaimed island off Amsterdam’s shoreline. Bicker’s Island, as it is still known today, was one of three islands created as part of the city’s expansion of 1610. In the mid-1650s Nooms made an etching of the shipyard on Bicker’s Island featuring a small guardhouse at one of the openings in the breakwater that protected the harbor. At the far left of Amsterdam Harbor Scene we see a similar guardhouse, which, based on cartographic evidence, was situated at another opening farther out along the breakwater. The etching, which positively identifies Bicker’s Island, and contemporary maps of Amsterdam confirm that Nooms painted this scene from the northeastern shore of Bicker’s Island, looking across the IJ.
The artist signed Amsterdam Harbor Scene as "R.Zeeman" upon its completion around 1658, embedding his coined name on the flag on the warship’s main mast. Coincidentally, Nooms accompanied De Ruyter on an expedition to the Mediterranean from 1661 to 1663.
Reinier Nooms was a highly respected painter, draftsman, and internationally renowned graphic artist who specialized in maritime subjects during a period when the Dutch commercial empire spanned the globe. He was born in either 1623 or 1624, presumably in Amsterdam, to parents whose names are unknown.[1] Nooms probably received his artistic training in Amsterdam, but we do not know the name of his teacher. His earliest known work is a drawing dated 1643 made at the age of 19 or 20 that depicts the rear of Amsterdam’s Old City Hall (Hamburger Kunsthalle, Hamburg).
Nooms’s artistic speciality and the fact that he signed his paintings R. Zeeman or Reinier Zeeman (zeeman = sailor or seaman) make it virtually certain that he was both a professional sailor and an artist. Nooms drew on his intimate knowledge of ships to create images that are so accurate that settings, specific vessels, and the activities taking place in ports and aboard ships can be exactly identified. His paintings usually have a blue-gray tonality that he enlivened with a sensitive use of light and a restrained use of bright colors, including occasional touches of gold on his ships. White highlights animate his figures and activate the undulating surfaces of water. Nooms also preserved an overall clarity of form while subtly drawing the eye to a painting’s focal point.
Nooms appears to have spent time in Paris in the late 1640s or early 1650s, when he published two series of lively etchings depicting views of the French capital and its surroundings: Receuil de plusiers Nauires, et Païsages faits après le naturel par R. Zeeman 1650 and Quelque Nauires desseigner & graver par Remy Seeman Ao1652. It is possible that he learned the art of etching and printmaking in the workshop of the Flemish marine artist and engraver Matthieu van Plattenberg (also known as Plattemontaigne; 1607/1608–1660), who had settled in Paris.
After his return to Amsterdam in 1652, Nooms started a fertile collaboration as a printmaker with the publisher Cornelis Danckerts and his son, Dancker Danckerts. During the 1650s he designed a number of compelling print series that provide much information about Amsterdam, its busy harbor, Dutch waterways and the types of boats plying those waters, and views of other ports. Nooms was back in Amsterdam in time to witness the fire that destroyed the Old City Hall on July 7, 1652. He commemorated the dramatic event with a beautiful etching that he signed with the following statement: “R Zeeman Inventoor et fecit e x. | op dee ovde here graft | after dee geesondee broeder” (R Zeeman inventor and c[reator] and executor [engraver] | at the old Herengracht | behind the [house or tavern called] Gezonde Broeder).
On April 6, 1653, Nooms married Maria Jansdr Moosijn from Bruges, the sister of Michael Moosijn, an engraver with whom Nooms collaborated on two popular engravings of Maerten Harpersz Tromp, a famous admiral who died in battle in 1653. The couple had two daughters, Neeltjen (born in 1653) and Lisbet (born in 1655). Nooms’s married life seems to have been as stormy as some of the seas he depicted. A notarial record of January 6, 1656, relates statements made by his wife on December 27, 1655, that her husband had fallen in with bad company, was visiting houses of ill repute, stayed out until the wee hours of the morning, and had even begun to hit her on occasion.
Nooms probably returned to Paris in 1656 and then traveled around the Mediterranean basin, where he made a number of evocative drawings and etchings of coastal areas and ports. He also may have visited Berlin around 1657 to work for the elector of Brandenburg. From 1661 to 1663 Nooms accompanied the celebrated Dutch admiral Michiel de Ruyter on an expedition to eradicate piracy along the coast of North Africa. Upon his return from the Mediterranean, Nooms painted four large canvases for the Admiralty of Amsterdam that depict the port cities Algiers, Tunis, and Tripoli on the Barbary Coast, and Valetta on Malta (Rijksmuseum, Amsterdam). It is not certain, but very likely the Board of the Admiralty specifically recruited Nooms to accompany De Ruyter to create a visual record of the expedition.
Nooms was a prolific artist: more than 80 paintings and 177 etchings from his hand are known. His career spanned about 14 years, from around 1650 to his death in 1664. Most of his oeuvre depicts his two main artistic interests: marine subjects—including ships, naval battles, and foreign ports—and cityscapes featuring his hometown of Amsterdam and its bustling harbor in the IJ estuary. Aside from the accuracy of his renderings of ships and harbor activities, he was also attuned to the impact of variable weather patterns on the water and on sailing conditions, and he excelled at conveying a range of atmospheric qualities. His paintings and prints found eager buyers among Amsterdam’s merchant community and others who derived their living from maritime pursuits. Nooms died in Amsterdam in 1664, at age 40 or 41. When his widow remarried in 1667, her dowry included several paintings by Nooms as well as books on navigation.
________________________________
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...
.
Rep. Paul Seaton, co-chair, House Finance Committee, discusses HB 115 with Alaska Public Media and KTOO reporter Andrew Kitchenman following the House floor session on Feb. 10, 2017. The bill creates a state income tax, draws money from the Permanent Fund for the state budget and introduces a new formula for setting the amount of the Permanent Fund dividend. (Photo by Skip Gray/360 North)
Permanent Secretary Ingabire Assumpta joins residents of Nyarugenge District for Kwibuka 25 I 13/04/2019
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Presentación en el Ayuntamiento de Ávila del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que se celebra entre el 23 y el 25 de marzo´12 en la ciudad de Ávila, organizado por Juventudes Musicales de Ávila.
La fase eliminatoria tuvo lugar en el Auditorio del Conservatorio de Música de Ávila y la fase final en la Sala de Cámara del Centro de Congresos y Exposiciones LIENZO NORTE de Ávila.
The Permanent Secretary in the Ministry of Women Affairs, Gender and Community Development Mrs Sibusisiwe Zembe (far left), Zimbabwe Gender Commission chairperson, Mrs Margaret Sangarwe-Mukahanana and Mrs Monica Mutsvangwa follow proceedings at the inaugural National Gender Forum in Harare on Thursday 19 October 2017
The Intruder - c. 1660
Gabriel Metsu
Dutch, 1629 - 1667
The Protestant Dutch had a reputation for strict rules that defined social conduct. Only on rare occasions, such as a betrothal when a suitor was expected to show passion for his future wife, would a demonstration of emotion be considered proper. In this sumptuous painting, Gabriel Metsu imagines an apparently prearranged "transgression" among the elite of Amsterdam. An officer bursts into a bedroom, where two elegant young women are getting ready for the day. The housekeeper, identified by the keys dangling from her apron, playfully pretends to restrain him. The woman seated in front of the mirror is clearly amused, but the young woman getting down from the bed seems perturbed at being caught in her underskirt. The scene contains a number of objects whose contradictory symbolic meanings would have intrigued contemporary viewers. The sliding of a naked foot into a slipper carries sexual overtones, and the bright red costume signals passion, while the comb held by the woman seated at the table denotes her purity.
Metsu organized this complex narrative scene by arranging his figures diagonally across the picture plane. His subject matter and style was influenced by Gerard ter Borch the Younger (1617–1681), whose Suitor’s Visit is also in the National Gallery of Art. Both artists excelled at depicting human interactions and rendering the satins, velvets, lace, and furs found in upper-class fashions.
Gabriel Metsu was born in Leiden sometime between November 27 and mid-December 1629, about eight months after the death of his father, the Flemish painter Jacques Metsue. In 1644, when fifteen-year-old Gabriel Metsu joined a semiformal group of local artists, he entered the membership rolls as a “painter.” Six days after the establishment of Leiden’s Saint Luke’s Guild in 1648, Metsu paid his membership dues as an independent master. With the exception of short absences in the early 1650s, he remained in Leiden until at least 1654, moving to Amsterdam the following year. On April 12, 1658, he married Isabella de Wolff, a relative of the Haarlem classicist painter Pieter de Grebber (c. 1600–1652/1653). In January of the next year, Metsu became an official citizen of Amsterdam, where he died in 1667 at the young age of thirty-eight.
It has often been assumed that Metsu must have studied with Dou, Gerrit, Leiden’s leading genre painter during the 1640s. This assumption may well be correct but it is not without problems, given that early works from Metsu’s Leiden period tend to be executed in a fairly broad and fluid manner, far removed from the meticulously crafted, small-scale paintings of Dou and the other Leiden fijnschilders, such as Mieris, Frans van. Rather than Dou, Metsu may initially have studied under the history painter Anthonie Claesz de Grebber (c. 1622–1691), who was related to Pieter de Grebber and, like Metsu, was also Catholic. Strong links with the work of the Utrecht painter Nicolaus Knüpfer (c. 1603–1655), further suggest that Metsu apprenticed with this master in the early 1650s. Also influential for Metsu’s early work was another master from Utrecht, the Italianate landscape painter Jan Baptist Weenix (1621–1660/1661).
Metsu’s stylistic and thematic adaptability suggests that he understood the changing character of the art market. For example, after he moved to Amsterdam he began to paint genre scenes that featured upper-class domestic situations. He also began to paint with greater detail and with a refinement associated with Leiden masters. In Amsterdam he also responded to the thematic and stylistic innovations of Vermeer, Johannes, Borch the Younger, Gerard ter, and Hooch, Pieter de.
Metsu’s facile brushwork and his engaging narrative scenes were highly regarded during his own time, but the height of his fame came in the eighteenth and nineteenth centuries, when he was viewed as one of the supreme Dutch masters of the seventeenth century. His paintings were sold for enormous sums of money, and, because of Metsu’s fame, no fewer than three of Vermeer’s paintings were atrributed to him, among them the National Gallery’s Woman Holding a Balance.
In addition to his genre scenes, Metsu painted a few depictions of outdoor markets, religious scenes, portraits, and still lifes. The genre and portrait painter Michiel van Musscher (1645–1705) was his only known pupil.
________________________________
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...
.
Allan Culham, Ambassador, Permanent Representative of Canada to the OAS
Date: March 01, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
The Booth’s permanent collection covers more than a dozen galleries, showcasing legendary artists such as Frederic Remington and Charles Russell to contemporary masters Howard Terpning and Andy Warhol. Unique to the Booth, the Millar Presidential Gallery displays a portrait and original hand-signed letter from each U.S. President, George Washington through Donald Trump. Supplementing the permanent collection are several temporary galleries, hosting 10 to 12 exhibitions per year.
In addition to “Seeing America’s Story” in our galleries, visitors can experience American heritage through several annual events, plus lectures, programing, and exhibition openings. Each February the For the Love of Art Gala Weekend features live and silent art auctions generating funds needed to help support the Museum’s mission. Every March the Southeastern Cowboy Gathering features traditional Cowboy food, music and poetry. October brings the Southeastern Cowboy Festival & Symposium with Native American dancing, gun fight reenactments, art history lectures, a Western marketplace and much more. The museum also welcomes visiting artists and scholars to speak at twice monthly lectures and exhibition openings throughout the year.
André Giroux - French, 1801 - 1879
Santa Trinità dei Monti in the Snow, 1825/1830
West Building, Main Floor — Gallery 91
From a high vantage point, we look across a snow-covered expanse at the long side of a pale, parchment-colored building with a town beyond in this horizontal landscape view. The scene is painted loosely and mostly in tones of icy blue, cream white, golden tan, and brown. Closest to us but far below, a hedge of moss-green treetops lines the sun-drenched, ivory-white field. The field slopes up to our left and a path, between two rows of cinnamon-brown trees, leads from the bottom center of the painting to the building. Four stories of mostly rectangular windows pierce the wall of the building in front of us. Shadows on the snow-covered roof are painted with thick strokes of steel blue. On the other side of the building, a second long roofline runs parallel to the first. The short side of the building, to our right, has a tower at each corner. A fawn-brown obelisk, which is a tapering, pointed column, is topped with a cross and stands in front of the building façade. Stacked and overlapping rooflines, painted broadly in azure blue and silvery gray, fade toward the distant horizon, which comes halfway up the canvas. A blanket of white clouds with arctic-blue bottoms sweep across the sky, revealing only a few small patches of vivid blue sky beyond.
Giroux first studied painting under his father in his native Paris, and began to exhibit landscapes at the Salon in 1819. He entered the École des Beaux-Arts in 1821 and won the Prix de Rome for historical landscape in 1825. This coveted prize took him to the Académie de France in Rome, where he studied until 1830. Many a French artist made the trip to Rome during this period, and Giroux numbered among his friends there such innovative young landscape painters as Jean-Baptiste-Camille Corot, Caruelle d'Aligny, Edouard Bertin, and Léon Fleury. Although idealized, historical landscapes won official academic favor, in practice Giroux and his contemporaries had a passion for working out-of-doors. They sought to capture their experience of nature as immediately as possible by painting in oils, usually on prepared paper, in the open air. A sense of immediacy is often conveyed by the sketchiness of these open-air studies, which were usually made quite quickly. Sometimes, however, these artists completed such works in the studio, bringing them to a greater degree of finish. Giroux and his compatriots went on painting expeditions together, both in Rome and beyond its walls, into the surrounding campagna. In 1831 Giroux submitted a group of such oil studies made in Italy--probably the more finished type, rather than freely executed sketches--for exhibition at the Salon in Paris, where they won him a gold medal. This indicates a growing public and official acceptance, immediately following the Revolution of 1830, of a more naturalistic aesthetic.
Santissima Trinità dei Monti, in the Snow was most likely painted from a window, rather than strictly in the open air: after all, such weather was hardly conducive for working outdoors! The view is taken from the north side of the Villa Medici, the seat of the Académie de France on the Pincian Hill in Rome, looking toward the famous church and convent of the title; the convent's snow-covered kitchen garden is in the foreground. We can speculate that the view was made from the artist's own window while he was a student at the Villa Medici. The date of 1827-1828, suggested by an old pencil inscription on the stretcher of the canvas, is consistent with Giroux's residence there. Beyond the church of Santissima Trinità dei Monti, the Palazzo Quirinale blocks the horizon; the obelisk to the right in front of the church marks the top of the Spanish Steps. Giroux has captured the steely gray light of a cold winter's day, and brilliantly combines a sharp sense of topographical accuracy with a lively, sketchy, painterly touch.
More information on this painting can be found in the Gallery publication French Paintings of the Nineteenth Century, Part I: Before Impressionism, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
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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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Rafael Mariano Grossi, IAEA Director-General, met with Delegates of Permanent Mission based in United Nations New York, accompanied by the Austrian Ministry of Foreign Affairs and the Diplomatic Academy of Vienna during their official meeting with the Director-General at the Agency headquarters in Vienna, Austria. 5 November 2025.
Photo Credit: Dean Calma / IAEA
Copyright ©IAEA Images
List of Participants:
H.E. Mr. Charles Masole, Botswana
H.E. Mr. Ahmad Faisal Muhamad, Malaysia
H.E. Mr. Abdulaziz M. Alwasil, Saudi Arabia
H.E. Mr. Viliami Vaʼinga Tōnē, Tonga
H.E. Mr. Tapugao Falefou, Tuvalu
H.E. Mr. Neil Nadesh Parsan, Trinidad and Tobago
H.E. Mr. Odo Tevi, Vanuatu
Permanent Mission of Austria to the United Nations
H.E. Mr. Gregor Kössler
Ms. Juliane Soyka
Permanent Mission of Austria to the United Nations (Vienna), IAEO, UNIDO, CTBTO
HE Ms. Gabriela Sellner, Resident Representative of Austria to the IAEA
Federal Ministry for European and International Affairs of Austria
Ms. Elisabeth Marschang
Diplomatische Akademie Wien – Vienna School of International Studies
Ms. Martina Schubert, Deputy Director
Ms. Anna Petrina
IAEA:
Rafael Mariano Grossi, IAEA Director-General
Jacek Bylica, IAEA Chief of Cabinet
Mariela Fogante, Special Assistant to the DG for Management
Diego Candano Laris, Senior Advisor to the Director-General
Ruzanna Harman, IAEA Chief of Protocol
La Cátedra Ocio y Conocimiento del Instituto de Estudios de Ocio, en colaboración con el Ciclo Nómada Interuniversitario ArsGames, desarrolló el 27 de febrero de 2018 el seminario permanente de investigación titulado La videoludificación de lo real. Más información: www.deusto.es/cs/Satellite/deusto/es/universidad-deusto/v...
Allan Culham, Ambassador, Permanent Representative of Canada to the OAS
Date: February 01, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
São Paulo, 06 de Agosto de 2025
Reunião Ordinária Semipresencial da Comissão Permanente de Trânsito, Transporte e Atividade Econômica
Foto: Douglas Ferreira | REDE CÂMARA
Créditos Obrigatórios. Todos os direitos reservados conforme lei de direito Autoral Número 9.610
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June 30, 2010 - Residents held a "wake" for the South Park Bridge to commemorate its permanent closure. Time and the 2001 earthquake have led official to deem it unrepairable, and funds have been slow in coming for a replacement.
www.b-townblog.com/2010/07/01/rest-in-peace-south-park-br...
Los talleres permanentes de las artes 2017 que realiza la Alcaldía de Chone bajo la tutoría de la coordinación de Patrimonio Cultural, Cultura y Educación en los predios de la Unidad Educativa Gonzalo Abad Grijalva, del barrio Agua Potable, se reiniciaron desde la semana anterior, los horarios se cumplen desde las 15:00 hasta las 17:30 de la tarde de lunes a viernes.
Ivón Chica Pinargote, coordinadora municipal de esta área dijo que estos talleres que brinda el GAD Municipal participen niños, niñas, adolescentes, y los jóvenes desarrollen sus habilidades artísticas, las inscripciones están abiertas y se las reciben en las oficinas de Patrimonio Cultural, Cultura y Educación en el edificio de la biblioteca municipal en el parque de La Madre en horarios de trabajo.
Las disciplinas de danza ecuatoriana, se enseñará el baile coreográfico, baile de salón, break dance, en artes escénicas se ofrecerán clases de improvisación teatral y teatro, en artes visuales se brindarán clases de caricatura, dibujos, y pintura, pintura al óleo, reciclaje creativo, talleres de guitarra, violín, órgano y piano, y se dictarán clases de iniciación musical, canto, sinfónica con maestros profesionales en las ramas, por lo que la Alcaldía del cantón Chone, aporta al desarrollo de los talleres de artes 2017.
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...
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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A mineralogical journey around the world. In the historic ambience of Freudenstein Castle, the Technical University Bergakademie Freiburg, Saxony presents over 3.500 minerals, precious stones and meteorites in the permanent exhibition terra mineralia. The collection offers visitors a veritable ´mineralogical journey around the world´.
www.freiberg-service.de/en/highlights/sightseeing/mineral...
europeforvisitors.com/germany/saxony/terra-mineralia-muse...