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História Permanente do Cinema – “Nosferatu”, de F. W. Murnau - O Cine Humberto Mauro, apresenta o filme “Nosferatu”, dentro do projeto História Permanente do Cinema, na quinta-feira, dia 21/3/2013, às 17h. Na trama dirigida por F. W. Murnau, Hutter, um agente imobiliário, viaja até os Montes Cárpatos para vender um castelo cujo proprietário é o excêntrico conde Graf Orlock. O conde, na verdade, é um milenar vampiro. A sessão será comentada pelo pesquisador Flávio C. von Sperling. A entrada é gratuita. Foto Divulgação
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An installation for Contact 2011 in Toronto, visual images taking over advertising boards at a parking lot at Front and Spadina. Public installations are going up all over downtown along with gallery shows for the Contact Photography Festival which runs in Toronto through May.
George Washington, c. 1821
Gilbert Stuart
West Building, Main Floor — Gallery 60-A
The leading portraitist of a new nation, Gilbert Stuart painted each of the first five US presidents from life. Trained in England and Ireland, the artist introduced a looser, brushy style to American portraits, painting figures that were both grand and lifelike.
Stuart was also a shrewd businessman. He made many copies of his presidential paintings, especially those of George Washington, to sell to eager patrons. Stuart reportedly told a friend, “I expect to make a fortune by Washington alone.”
He created just two full sets of the five presidential portraits, meant to be displayed together. One set was partially destroyed in a fire. This is the only surviving complete group.
Shown from the chest up, a cleanshaven, middle-aged man with pale skin and silvery gray hair, wearing a white, ruffled shirt under a velvety black, high-necked jacket, looks out at us in this vertical portrait painting. His body is angled to our left, and he turns his face slightly to look at us with gray eyes under slightly arched eyebrows. He has a long nose and his thin lips are closed in a straight line. Shadows define slightly sagging jowls along his jawline and down his neck. His light gray hair is pulled back from his forehead and swells in bushy curls over his ears. Part of a black ribbon seen beyond his shoulder ties his hair back. Light illuminates the person from our left and creates a golden glow on the light brown background behind him.
Gilbert Stuart’s ambition when he left Dublin in 1793 was to paint the first president of the United States – he supposedly declared to a friend: “I expect to make a fortune by Washington.” After the artist traveled to Philadelphia in the late autumn of 1794 with a letter of introduction from Chief Justice John Jay, the president sat for Stuart sometime the following year. Attracting commissions from prominent patrons in the colonies and abroad, Stuart’s portraits of Washington were a success from the start, and two more such sittings would occur over the next several years.
One of four Stuart portraits of George Washington owned by the National Gallery, this 1821 work is derived from Stuart’s second life portrait from 1796 (now jointly owned by the Museum of Fine Arts Boston and the National Portrait Gallery). Here, Washington is shown looking to the left, wearing a black velvet suit and a white shirt with a ruffle of lace or linen. The work demonstrates Stuart’s extraordinary ability to capture an individual’s likeness, which was based on a gift for assessing each sitter’s personality through conversation and on his close observation. Each portrait reflects Stuart’s knowledge of anatomy and his belief in theories of physiognomy, which hold that a study of the outward body can reveal a person’s character.
Over the course of his career, Gilbert Stuart painted at least 100 portraits of George Washington, most of them also copies of the 1796 painting. Centuries later, Stuart’s portrayal of Washington remains the best-known image of the United States’ first president—as writer and critic John Neal wrote in 1823, “So, Stuart painted him; and though a better likeness of him were shown to us, we should reject it; for, the only idea that we now have of George Washington, is associated with Stuart’s Washington.”
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 265-266, 268-270, and 273, which is available as a free PDF.
Gilbert Stuart was the preeminent portraitist in Federal America. He combined a talent for recording likeness with an ability to interpret a sitter's personality or character in the choice of pose, color and style of clothing, and setting. He introduced to America the loose, brushy style used by many of the leading artists of late eighteenth century London. He recorded likenesses of lawyers, politicians, diplomats, native Americans, their wives and children. His sitters included many prominent Americans, among them the first five presidents, their advisors, families, and admirers. He is known especially for his numerous portraits of George Washington.
Born in 1755 in North Kingston, Rhode Island, Stuart was baptized with his name spelled "Stewart". His father, an immigrant Scot, built and operated a snuff mill that may have led to the artist's addiction to snuff. He grew up in the trading city of Newport, where itinerant Scottish portraitist Cosmo Alexander (1724-1772) gave him his earliest training in painting. He accompanied Alexander to Scotland in 1771, returning home at the older artist's death. Three years later in 1775, on the eve of the American Revolution, he went to London, where he worked for five years (1777-1782) as assistant to the Anglo-American painter Benjamin West. He exhibited at the Royal Academy from 1777 to 1785, using the name Gilbert Charles Stuart the first year. The success of The Skater (NGA 1950.18.1), painted in 1782, enabled him to establish his own business as a portrait painter. In 1786 Stuart married Charlotte Coates, and the following year they went to Dublin, where Stuart painted portraits of the Protestant ruling minority for over five years.
Stuart returned to the United States in 1793, planning to paint a portrait of George Washington that would establish his reputation in America. After about a year in New York City, he went to Philadelphia, the capital of the United States, with a letter of introduction to Washington from John Jay. He painted the president in the winter or early spring of 1795. He was not satisfied with his first life portrait of Washington, but others were. Martha Washington commissioned a second and Mrs. William Bingham commissioned two full-lengths. His success led immediately to many other commissions. His sitters were politically prominent and wealthy, from the merchant and landed classes. After Washington, D.C. became the new national capital, Stuart moved there in December of 1803, and this group continued as his patrons. There he painted the Madisons, Jefferson, the Thorntons, and others from Jefferson's administration.
In the summer of 1805 Stuart settled in Boston. In his Roxbury studio he continued to paint politically and socially prominent sitters and, on request, to make replicas of his second "Athenaeum" portrait of George Washington. Throughout his life younger artists, including John Trumbull, Thomas Sully, Rembrandt Peale, and John Vanderlyn, sought his advice and imitated his work. Among his students were his children Charles Gilbert (1787-1813) and Jane (1812-1888). One indication of Stuart's popularity is the number of portraits he painted, over a thousand during his long career, excluding copies of the portraits of Washington. Another indication is the number of copies of his work that other artists made. His sitters indicated their fascination for his talent and personality by recording lengthy anecdotes and descriptions of their sittings, producing an unusally rich written record about an American portraitist. Stuart died in Boston in 1828. [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
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...
.
Mary Cassatt - American, 1844 - 1926
The Boating Party, 1893/1894
West Building, Main Floor — Gallery 86
We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap. He sits with his back to us, bending forward to row the boat, which is cropped by the bottom edge of the canvas. The left side of his ruddy face is visible over his left shoulder. The woman and baby both have pale skin. The woman and baby sit across from the man, facing us to our left in the bow. The woman’s long-sleeved, sky-blue dress is crosshatched with pink lines. The baby leans back in the woman’s arms, and wears a pink dress, blue socks, and brown shoes. The wide-brimmed hats on both the woman and baby are painted pale celery green. They gaze toward or just past the man. The corner of the boat’s sail, also painted pale green, is pulled taunt by the wind to our left. Azure-blue water surrounds the boat up to the high horizon line, which brushes the top edge of the painting. The shoreline in the distance is lined with trees and dotted with white houses with red roofs.
his bold composition reveals the influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s. The dark figure of the man compresses the picture onto the flat plane of the canvas, and the horizon is pushed to the top, collapsing a sense of distance. Our higher vantage point gives us an oblique view into the boat. Its form is divided into decorative shapes by the intersection of its horizontal supports.
After 1893, Cassatt began to spend many summers on the Mediterranean coast at Antibes. Under its intense sun, she began to experiment with harder, more decorative color. Here, citron and blue carve strong arcs that divide the picture into assertive, almost abstract, shapes. This picture, with its bold geometry and decorative patterning of the surface, positions Cassatt with such post–impressionist painters as Gauguin and Van Gogh
This painting, one of her most ambitious, was the centerpiece of Cassatt's first solo exhibition in the United States in 1895. Her contacts with wealthy friends in the United States did much to bring avant–garde French painting into this country.
________________________________
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...
.
Sanford Robinson Gifford - American, 1823 - 1880
The Artist Sketching at Mount Desert, Maine, 1864-1865
West Building, Main Floor — Gallery 65
A man sits on a sheer, rocky outcropping high above a sunlit expanse of land that stretches to meet a sun-dappled sea in this horizontal painting. The outcropping slopes in to fill the right half of the composition, and is partially carpeted by mustard-yellow, brown, and moss-green growth. Bright sunlight from the upper right glints off some of the craggy, steel-gray rock faces. The man is tiny in scale within the composition, and sits near the top right with his legs stretched out in front of him. He wears a denim-blue shirt, tan pants, and soft hat with a narrow brim. He appears to have red hair and a beard. He holds a white object in front of him, presumably paper or a notebook. Behind him an open box of paints and brushes sits near a camp stool with a closed white parasol planted next to it. A lower hill in the middle distance slopes in from the left side and disappears behind the outcroppingin the center of the composition. The hill is covered with muted and dark greens and yellows, suggesting a forest of pine trees. The hill descends to meet the flat, mauve-tinted land, which is crisscrossed with shallow fissures. In the distance, the area where the narrow band of powder-blue sea meets the sky, about three-quarters of the way up the canvas, is painted with a tan-colored haze. The artist signed the work in the lower right as if he had carved his name and the date into the rock. It reads, “S R Gifford 1865.”
Born and raised in the center of the Hudson River Valley, Sanford Gifford came from a family that supported and encouraged his artistic leanings, and whose prosperity meant he could pursue painting without financial worries. Gifford began training in New York City to be a portrait painter, but--inspired by the work of the American landscapist Thomas Cole--turned to landscape painting. Gifford spent the summer of 1846 touring and sketching in the Catskill and Berkshire mountains. By 1847, he had begun to show his work at the American Art-Union and the National Academy of Design in New York, where he was elected an associate in 1850 and an academician in 1854.
In 1855, Gifford traveled to Europe, where he spent two-and-a-half years visiting the great repositories of art and sketching scenery in England, Scotland, France, the Low Countries, Germany, Switzerland, and Italy. In England, he admired the color and light in the paintings of J.M.W. Turner, and discussed his work with the critic John Ruskin. Gifford was also impressed by the work of the French landscape painters of the Barbizon school, but wrote in his journal of the dangers of surrendering to a particular method or school of painting, lest they "usurp the place of Nature."
When Gifford returned to the United States in 1857, he took up quarters in the new Tenth Street Studio Building in New York City but left it nearly every summer to sketch in the countryside. Favorite settings in this period were the Catskills, the Adirondacks, the Green Mountains in Vermont, the White Mountains in New Hampshire, and various locales in Maine and Nova Scotia.
During the early years of the Civil War, Gifford served in New York's renowned Seventh Regiment. In 1868 Gifford went abroad for a second and last time, spending more than a year traveling in Europe and the Middle East. Along with notable artists and civic leaders of the day, he was a founder of The Metropolitan Museum of Art in 1870. After his death in 1880, he was honored with the Metropolitan's first monographic retrospective and a memorial catalogue of his known pictures.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Holy Cross Church in Wilmington, NC installed 5,880 sq ft sanctuary space with classrooms and fellowship mall area in our modular building.
International Day of Commemoration in Memory of
the Victims of the Holocaust, 27 January 2025, Palais des Nations, United Nations, Geneva, Switzerland, Ms. Tatiana Valovaya, Director-General of the United Nations Office at Geneva, His Excellency Mr. Daniel Martin Meron, Permanent Representative of Israel to the United Nations Office at Geneva, Ambassador Her Excellency Ms. Lotte Knudsen, Permanent Representative of the Delegation of the European Union to the United Nations Office at Geneva, Mr. Ivan Lefkovits, Holocaust survivor, Lighting of the candles, UN Photo / Ania Freindorf
Fase de Arpa, Canto y Música de Cámara del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que ha tenido lugar los días 18 a 20 de noviembre´11 en Ciutadella de Menorca (Islas Baleares, Spain)
Toda la información en la web de Juventudes Musicales de España, o en la página de Joventuts Musicals de Ciutadella.
Álbum Concurso Permanente de Jóvenes Intérpretes JJMMEspaña – Ciutadella de Menorca - Noviembre´11
Ordenaciones diáconos permanentes en la catedral de la Almudena
Fotos de Juan Carlos Martin / Archimadrid
A permanent way train with 66714 and 66315 heading west on the Down with 6G71 Westbury Down T.C. - Llandeilo Jn.
Hubert J. Charles, Ambassador, Permanent Representative of Dominica to the OAS
Date: February 18, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
As soon as we wake up he goes out there and he pretty much spends the entire time in the front yard when we are home. Loving it. Keeps the neighbourhood in line ;)
Preserved 43200 (43060) 'Heaton 150' sporting '200 Years of Train Travel Since 1825' temporary branding.
The preserved Class 43 HST power car now known as 43060 “Heaton 150” has a particularly interesting history because it has effectively lived through several generations of British intercity railway. It began life as an East Coast Main Line HST power car in 1977, spent much of its later career on the Midland Main Line, became one of the last VP185-powered East Midlands HSTs, briefly worked for Colas after withdrawal, entered preservation at the Nene Valley Railway, returned to the national network in 2025 and then acquired the temporary identity 43200 for Railway 200. Its Heaton 150 name came later, in September 2025, and commemorates the 150th anniversary of Heaton depot.
There is a small but important distinction in the modern identity. 43200 was a commemorative renumbering of 43060, not a permanent new identity. By 2026 the power car was again being recorded as 43060, while retaining the Heaton 150 1875–2025 name. The 125 Group's January 2026 fleet list records it as 43060, owned by 125 Group, with the Heaton 150 name.
Birth as an East Coast HST
43060 was built at British Rail Engineering Limited's Crewe Works in 1977. It entered service in August 1977 as part of HST set 254003, one of the early Class 254 formations intended for the East Coast Main Line.
The HST was then still a revolutionary train. British Rail had developed it as a relatively straightforward diesel alternative to more complicated high-speed concepts such as the Advanced Passenger Train. Two streamlined Class 43 power cars worked with Mark 3 coaches, giving the train a maximum service speed of 125 mph.
43060 was paired initially with sister power car 43061 in set 254003. The set was among the early East Coast HSTs, and photographs from the late 1970s show 254003 working King's Cross–Edinburgh services. A commissioning run took 43060 to York on 2 September 1977, shortly before the regular East Coast HST operation expanded.
This means that the preserved power car has a genuine connection with the birth of the HST on the East Coast Main Line, rather than being a later replacement vehicle.
The name “County of Leicestershire”
In March 1985, 43060 was named County of Leicestershire at Leicester station. The naming was part of British Rail's practice of naming HST power cars after counties associated with the InterCity network. The name was later removed and subsequently reapplied in modified Midland Main Line style.
The name is particularly interesting in retrospect because 43060 would eventually become one of the longest-serving HST power cars on the Midland Main Line.
During the 1980s it was still an East Coast locomotive. Photographs show County of Leicestershire working King's Cross–Leeds and King's Cross–Edinburgh trains, while it also travelled widely across the East Coast network. One surviving photograph records it at King's Cross preparing to work the 20:50 service to Leeds on 12 January 1987 during an exceptionally severe winter.
The locomotive also visited Scotland regularly. It was photographed in Dundee in July 1985, for example, as County of Leicestershire.
The move to the Midland Main Line
The next major phase came in the early 1990s.
Following the electrification and modernisation of the East Coast Main Line, the East Coast HST fleet no longer required quite so many of its original power cars. 43060 became associated with the Midland Main Line, where it would spend the overwhelming majority of the next three decades.
Records place its regular Midland Main Line work from approximately 1991 onwards. It became a familiar sight between London St Pancras, Leicester, Derby, Nottingham and Sheffield, and also appeared on summer workings to places such as Skegness.
This was a significant change in its identity. The locomotive had been built for the East Coast, had carried a Leicestershire name while based in that environment, and now actually became a Midland Main Line stalwart.
The HSTs were particularly well suited to the Midland Main Line because much of the route remained unelectrified. Even after the introduction of newer diesel multiple units, there was no straightforward replacement for the capacity and speed of a nine- or ten-car HST formation.
The Paxman VP185
One of the most important technical aspects of 43060's history is its engine.
It was originally fitted with the Paxman Valenta, the engine that gave early HSTs their famous high-pitched roar. During its later career, however, 43060 was fitted with a Paxman VP185 engine.
The VP185 was developed as a more efficient successor to the Valenta. The Midland HST fleet became particularly associated with the type, unlike the Great Western and East Coast fleets where MTU re-engining became much more prevalent.
Consequently, preserved 43060 represents an important and increasingly rare version of the HST. It is not simply a generic Class 43: it is a VP185-powered Midland HST survivor.
The engine change also means that its sound today is not quite the same as that of a completely original 1970s HST. The basic locomotive is an original 1977 machine, while its propulsion equipment represents a later stage in the HST's evolution.
Midland Mainline and East Midlands Trains
After British Rail's privatisation, 43060 continued its Midland career.
It became part of the Midland Mainline fleet and later passed to East Midlands Trains when that franchise began in 2007. During the early EMT years it retained the Midland Main Line blue livery for some time. A photograph from March 2009 shows it still wearing Midland Main Line colours despite carrying East Midlands Trains branding.
That period is particularly useful for understanding why enthusiasts became attached to 43060. It was one of the power cars that seemed to embody the transition from the old Midland Mainline operation into East Midlands Trains without immediately losing its previous appearance.
Eventually it received the East Midlands Trains livery.
The HST continued to work intensively. It could be found on St Pancras–Nottingham and St Pancras–Sheffield trains, as well as seasonal workings such as Derby–Skegness. A 2017 photograph records 43060 at Skegness with a Derby-bound HST, illustrating the remarkable variety of destinations that could be reached by a Midland HST.
By then, the locomotive was forty years old.
The final passenger years
The HST's age became increasingly significant in the late 2010s. East Midlands Railway's eventual replacement fleet, the Class 810 Aurora, was still some way off, yet the existing HSTs were approaching the end of their lives in normal passenger service.
43060 nevertheless continued to work regularly.
In April 2019 it was photographed working an East Midlands Trains St Pancras–Nottingham service between Attenborough and Beeston. This was already more than forty years after its construction.
Its last regular operator was East Midlands Railway, which replaced East Midlands Trains in 2019.
The pandemic accelerated the end of the old HST operation, and the East Midlands fleet was withdrawn from normal passenger service in 2021. 43060 was withdrawn in June 2021.
At that point, its future was uncertain.
A brief post-passenger career with Colas
43060 did not immediately go into preservation.
It was among former East Midlands HST power cars that entered the Colas Rail infrastructure-test fleet. In late 2020 and early 2021, Colas was beginning to use HST power cars for infrastructure-monitoring work, partly because the Class 43 offered high-speed capability and good route availability. Records from October 2020 show 43050 and 43060 working together on Network Rail test trains.
This was a fascinating final commercial chapter.
A power car that had spent more than forty years carrying passengers between St Pancras and the East Midlands was now hauling track-monitoring equipment.
Its time with Colas was relatively short. By 2021 the power car was being stored at Long Marston, alongside other withdrawn East Midlands HSTs. Photographic records from August 2021 show 43060 there with 43045, 43073 and 43075.
The fate of many of its contemporaries was grim. 43061, its original partner in HST set 254003, was scrapped at Sims Metal in Newport in October 2021. 43060 escaped that fate.
Preservation
The crucial change came when 125 Preservation acquired 43060 for preservation.
The organisation's objective was to preserve the InterCity 125 not merely as a static exhibit but as a functioning railway vehicle. 43060 was acquired alongside fellow VP185 power car 43045, and several historic Mark 3 vehicles.
The two power cars eventually became part of a short-formed preserved HST with three coaches: prototype Mark 3 vehicles 42355 and 42357, together with first-production Mark 3 buffet 40904. The resulting train was a particularly interesting historical combination because it brought together two surviving VP185 power cars and some of the earliest Mark 3 passenger vehicles.
The vehicles moved to the Nene Valley Railway/Railworld area in January 2023. 43060 arrived at Wansford on 10 January 2023, with 43045 following the next day. The power cars were successfully started after arrival.
This was not merely static preservation.
In July 2023, the short HST formation entered preservation service at the Nene Valley Railway. The formation consisted of 43045, 43060, 42355, 42357 and 40904. The two power cars were still in East Midlands Trains colours at that point.
The first running was historically significant because it demonstrated that an HST power car withdrawn from national passenger service could still be maintained and operated in preservation.
Railway 200
The next transformation was extraordinary.
2025 was Railway 200, marking two centuries since the opening of the Stockton & Darlington Railway. The 125 Preservation team decided to give 43060 a special commemorative appearance.
On 29 June 2025, the newly repainted power car was unveiled in a striking dark-blue Railway 200 livery. The scheme deliberately evoked the appearance of the former Great North Eastern Railway HSTs, although 43060 itself had not historically been a GNER power car.
The livery included Railway 200 branding, while the power car received the temporary number 43200.
The number was a piece of railway numerology: Class 43 + 200 = 43200, explicitly linking the HST with Railway 200.
The number was not a new permanent TOPS identity. It was essentially a commemorative disguise for 43060. Internal and historical records continued to identify the vehicle as 43060.
The Greatest Gathering
43200 became one of the most conspicuous HSTs at The Greatest Gathering, the major Railway 200 exhibition held at Alstom's Litchurch Lane works in Derby in August 2025.
It appeared alongside 43159 “Rio Warrior”, the preserved HST power car associated with the 148.5 mph diesel rail-speed record. Both were used to represent the InterCity 125 at the event.
The juxtaposition was particularly appropriate. 43159 represented the HST's extraordinary high-speed achievement, while 43200 represented the enormous cultural impact of the InterCity 125 on British rail travel.
The exhibition also brought 43060 back to Derby, a city closely associated with the later Midland Main Line phase of its career.
Returning to the main line
The Railway 200 project became even more significant when 43060 was fully registered for main-line operation.
This was a major achievement for 125 Preservation. Instead of being confined to the Nene Valley Railway, 43060 could now travel over Network Rail infrastructure again.
Railways Illustrated reported in October 2025 that the preserved power car had returned to the main line and would be maintained for main-line use by 125 Group.
There was an important organisational distinction here. 43060 belongs to 125 Preservation, while 43159 and other parts of the HST preservation fleet belong to 125 Group. The two organisations cooperate closely, allowing power cars and equipment to be shared.
That cooperation proved crucial to the Railway 200 programme.
The Heaton connection
The locomotive's new name came in September 2025.
On 20 September 2025, Northern held a major open day at Heaton Traction & Rolling Stock Maintenance Depot in Newcastle, celebrating 150 years since a railway depot was established on the site.
The original depot had been opened by the North Eastern Railway in 1875. The 2025 event therefore marked a century and a half of railway engineering at Heaton.
43060 was a particularly appropriate locomotive to commemorate the anniversary.
It had been built specifically for the East Coast Main Line and had spent its early career working East Coast services. Its history therefore had a direct connection with the North Eastern railway world, even though its later career became strongly associated with the Midland Main Line.
At the Heaton open day, 43060 was named:
“Heaton 150 1875–2025.”
The naming took place during the open day itself, and the locomotive arrived as part of a special charter from Derby. 43159 “Rio Warrior” led the train, with 43060 at the rear.
This was therefore the first time the locomotive had carried the Heaton 150 identity.
The name is quite different from its earlier County of Leicestershire name. The latter connected the locomotive to its Midland Main Line career; Heaton 150 deliberately reconnects it with its East Coast origins.
The 2025 Heaton charter
The train to the open day was operated by RailAdventure for the Branch Line Society.
It ran from Derby to Heaton on 20 September 2025 as 1Z59, with 43159 and 43200/43060 working together. The return was 1Z60 from Heaton back to Derby that evening.
The journey was especially symbolic because the locomotive was effectively returning to the geographical territory of its first career.
When 43060 entered service in 1977, it was an East Coast HST. Almost half a century later, its preserved form travelled north again to Newcastle to receive a name commemorating one of the great East Coast depots.
The GNER livery of 2026
Another interesting twist followed.
In January 2026, 43060 was unveiled in a retro GNER-style dark-blue livery at UK Rail Leasing's Loughborough facility. 125 Group and 125 Preservation presented several newly painted HST vehicles there on 23 January, with 43060 receiving the GNER scheme.
This is important because the GNER livery and the Heaton 150 name tell two different stories.
The GNER colour scheme is a recreation. 43060 itself did not spend its working career with GNER as a regular power car.
The Heaton 150 name is an actual commemorative identity applied in 2025.
The combination therefore creates a deliberately historical-looking locomotive that nevertheless represents several different phases of HST history.
By February 2026, photographs show 43060 Heaton 150 in GNER-style colours working over the East Coast Main Line. It was involved in stock movements connected with Scottish HST vehicles, travelling from Haymarket towards Derby and subsequently Loughborough.
The choice is particularly apt. A locomotive originally built for East Coast HST services is now wearing a visual recreation of one of the East Coast's best-known post-privatisation liveries.
A return to the East Coast
The February 2026 movements produced another satisfying historical coincidence.
On 20 February, 43060 worked with 43025 from Haymarket depot to Derby Chaddesden Sidings, conveying Scottish Mark 3 stock. The route took them via the East Coast Main Line, including Doncaster and Newark.
That meant that 43060 was once again travelling over the railway for which it had originally been built, although now as a preserved locomotive rather than an East Coast passenger power car.
It was effectively revisiting its own birthplace in operational terms.
The Loughborough work
The power car was subsequently involved in work at UK Rail Leasing's Loughborough facility.
The 125 Group's January 2026 presentation took place there, and records show 43060 at the site on 23 January in its retro GNER livery.
On 23 February 2026, 43060 was recorded working from Derby Chaddesden Sidings to the UKRL Wabtec Brush Works at Loughborough. Contemporary photographs describe it as the GNER-liveried Heaton 150.
The 125 Group's January 2026 fleet list subsequently recorded 43060 at UKRL Loughborough for repairs.
That is the latest firm status I can establish: the locomotive remains preserved and main-line capable, but as of the latest fleet information it is at Loughborough undergoing repairs rather than being in ordinary excursion service.
The curious number 43200
The numbers can look confusing if you encounter photographs from different dates.
For most of its life the locomotive was 43060.
During the Railway 200 period in 2025 it became 43200 for commemorative purposes.
It received the Heaton 150 name while still associated with the 43200 identity.
By 2026, railway records were again using 43060, while the Heaton 150 name remained. The 125 Group's fleet list explicitly records 43060, Heaton 150 1875–2025, while SpotLog lists 43060 with 43200 as an associated number.
It is therefore best to regard 43200 as a 2025 Railway 200 identity, rather than treating 43200 as the locomotive's permanent number.
Why the locomotive is particularly important
43060 is a particularly valuable preservation candidate because of its East Coast pedigree and VP185 engineering.
It is an original 1977 production HST power car. It was part of the early East Coast fleet. It carried a county name. It later became a Midland Main Line regular. It was fitted with the distinctive VP185 engine. It worked through Midland Mainline, East Midlands Trains and East Midlands Railway eras. It survived withdrawal and a spell with Colas. It then became part of a preserved HST formation.
Its survival is also significant because its original partner, 43061, did not survive. 43061 was ultimately scrapped in 2021.
The preservation of 43060 therefore keeps alive a physical representative of the original 254003 formation that once worked the East Coast Main Line.
The Nene Valley HST
The preserved HST associated with 43060 is also historically unusual.
The formation assembled by 125 Preservation used 43045 and 43060, both VP185-powered, with Mk3 vehicles 42355, 42357 and 40904. The coaches are themselves historically important, including prototype Mk3 vehicles and the first production Trailer Restaurant First Buffet.
This gives 43060 a preservation context extending beyond the power car itself. It is part of an attempt to preserve the whole HST concept, rather than simply displaying an isolated locomotive.
That is particularly important because the HST was never really intended to be viewed as a conventional locomotive class. Its significance lies in the complete power-car-and-coach system.
From ordinary railway vehicle to historical exhibit
There is a fascinating progression in 43060's life.
In 1977 it was new technology.
In the 1980s it was a high-speed East Coast express power car.
In the 1990s it became a Midland Main Line locomotive.
In the 2000s and 2010s it was an everyday passenger train power car rather than a heritage object.
In 2020–21 it became a specialist infrastructure locomotive with Colas.
In 2023 it became a preserved railway vehicle.
In 2025 it became a Railway 200 exhibit and returned to main-line operation.
In September 2025 it became Heaton 150.
In January 2026 it became a visual recreation of a GNER-era HST while retaining its Heaton 150 identity.
That is an extraordinary sequence for a single power car.
The significance of “Heaton 150”
The name is perhaps more meaningful than it first appears.
Heaton depot's history reaches back to 1875, when the North Eastern Railway established a locomotive depot on the site. The 2025 anniversary therefore commemorated 150 years of railway activity at the location.
43060's own East Coast history began only two years after the depot's 100th anniversary, in 1977.
The HST was part of a completely different technological era from the steam locomotives that originally worked from Heaton, yet the locomotive's preservation allows those different eras to be connected.
The Heaton 150 name therefore says something about the continuity of railway engineering. The locomotive was built during the later British Rail era, worked in commercial service for more than four decades and is now preserved by enthusiasts who are themselves maintaining the technology for future generations.
Its present status
As of August 2026, 43060 remains in preservation under 125 Preservation, working closely with 125 Group. The organisation's fleet page identifies 43060 as one of its two principal preserved HST power cars.
The most recent fleet information places 43060 at UKRL Loughborough for repairs, following its February 2026 movement there.
Its future is therefore not one of static display. It remains intended for main-line use, and its movements in 2025 and 2026 demonstrate that the preservation team has succeeded in keeping a 1977 HST power car capable of travelling over the national network.
The locomotive has consequently come a very long way from the days when it was simply the rear power car of HST set 254003.
Hugo de Zela, Ambassador, Permanent Representative of Peru to the OAS
Date: april 20,2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Estudos dos Casos:
Auditoria em Riscos Psicossociais (NR-1) (Maurício Borba – TRT 5).
Auditoria em Segurança da Informação (Bruno Paschoal e Rubia Santos – TRE-SP)
Consultoria em LGPD (Fabrício dos Reis Santos – TJMG).
Foto: Rômulo Serpa/CNJ
Deborah Mae Lovell, Ambassador, Permanent Representative of Antigua and Barbuda to the OAS
Date: May 02, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Héctor Virgilio Alcántara, Ambassador, Permanent Representative of Dominican Republic to the OAS
Date:May 04, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
The Artist's Father, Reading "L'Événement", 1866
Paul Cezanne
This portrait reveals Cezanne’s complicated relationship with his father. The Italian immigrant built a successful hat business and started a bank in the southern French city of Aix-en-Provence. While he intended for his only son to follow in his footsteps, Cezanne had other plans.
Here, the patriarch relaxes at home in his slippers and cap, reading a Parisian newspaper. Cezanne captures his monumental presence and selfassurance. But the artist inserts himself into the work: one of his early still lifes hangs over his father’s head. It is done in the thick painting technique Cezanne learned from his rebellious idol Gustave Courbet. In fact, this portrait itself also uses such heavy slabs of paint. Cezanne may have been asserting his independence.
A man sitting in a tall, upholstered armchair reads a newspaper in this vertical portrait painting. The man and the room in which he sits is loosely painted with bold, visible strokes throughout. He holds the paper close to his face, and the top edge falls over so we can read the title, “L’EVENEMENT.” He has a light, olive-toned complexion, and his white hair peeks from under a close-fitting black cap. He wears a high-necked white shirt under a chocolate-brown jacket, steel-gray trousers, white socks, and camel-brown shoes. The fabric on the chair is painted with broad brushstrokes to create a loose floral pattern on a white background. The man and chair are outlined in black. The man sits in the corner of a room with a closed door behind him to our right. Hanging on the wall over his head, and partially obscured by it, is a small, possibly unframed, still life painting with what could be kelly-green fruit and a royal-blue cup against a black background.
In The Artist's Father Cézanne explored his emotionally charged relationship with his banker father. Tension is particularly evident in the energetic, expressive paint handling, an exaggeration of Courbet's palette knife technique. The unyielding figure of Louis-Auguste Cézanne, the newspaper he is reading, his chair, and the room are described with obtrusively thick slabs of pigment.
The Artist's Father can be interpreted as an assertion of Cézanne's independence. During the early 1860s, Cézanne rejected the legal and banking careers advocated by his father and instead studied art, a profession his father considered grossly impractical. In this calculated composition, he seated his father precariouly near the edge of the chair and tilted the perspectival slope of the floor as though trying to tip his father out of the picture, an effect heightened by the contrast between his father's heavy legs and shoes and the delicate feet of the chair supporting him. The framed painting displayed on the back wall is a still life that Cézanne painted shortly before The Artist's Father, a statement of his artistic accomplishment. The newspaper L'Evénement refers to novelist Emile Zola, the childhood friend who championed Cézanne's bid to study art in Paris and who became art critic for the paper in 1866. Cézanne's father customarily read another journal.
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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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El diálogo permanente entre entidades del sector, la fijación de compromisos institucionales, la adaptación al marco normativo colombiano del Índice de Pobreza Multidimensional (IPM) y la creación de instancias de articulación han permitido que Colombia sea un referente para la región en la implementación de este índice.
Así lo explicó el director encargado de Prosperidad Social, Nemesio Roys Garzón, durante su intervención en el panel de expertos que se realizó en el marco del seminario "Índice de pobreza multidimensional (IPM): su impacto en la política social", que tuvo lugar en la Universidad de los Andes, organizado por la Iniciativa de Pobreza y Desarrollo Humano de Oxford (OPHI), centro de investigación de la Universidad de Oxford.
"La medición del IPM Colombia en 2010 dio como resultado una incidencia del IPM del 30,4% a nivel nacional. A 2015, la proporción disminuyó a 20,2%", aseguró Roys Garzón.
El Director Encargado de Prosperidad Social, agregó que para implementar el IPM se tuvieron en cuenta diferentes aspectos como la revisión de las variables más utilizadas en otros indicadores, el marco normativo a partir de la Constitución Nacional, estudios sobre pobreza, los índices multidimensionales aplicados a Colombia (NBI, ICV, SISBEN III), los umbrales definidos por los Objetivos de Desarrollo del Milenio y la disponibilidad de información en una sola fuente estadística, es decir, la Encuestas de Calidad de Vida del DANE.
Desde que se adoptó el IPM como medida oficial en Colombia se crearon instancias de articulación como la Mesa para la reducción de la Pobreza, el Comité Ejecutivo de Directores, las mesas de trabajo asociadas al IPM y el Comité de expertos para la medición de pobreza. Como consecuencia de esto, se generaron alertas que llevaron al diseño de programas y estrategias para la población más necesitada. En el panel se destacó por ejemplo que en 2010, la Mesa de Pobreza generó alertas por las brechas entre pobres y no pobres multidimensionales en el logro educativo y el acceso a servicios para la primera infancia, lo cual llevó a la formulación de las estrategias de gratuidad escolar y de atención a la primera infancia "De Cero a Siempre".
"Posiblemente, el hito más importante en el proceso de implementación del IPM fue su incorporación en el Plan Nacional de Desarrollo 2014-2018, y la gran apropiación del Gobierno Nacional del lenguaje del IPM. De igual manera, la georreferenciación nos ha permitido mejorar la focalización de nuestros programas sociales, y dirigir la inversión a los lugares donde existen mayores privaciones", concluyó Roys Garzón.
En el panel de expertos que discutieron acerca de diferentes aspectos del IPM, estuvieron además Mauricio Perfetti, director general del DANE; el experto Roberto Angulo, representante OPHI y Luis Fernando Mejía, subdirector sectorial de Planeación Nacional. La moderación estuvo a cargo de Sabina Alkire, directora general OPHI.
El Seminario se adelantó en el marco del curso de verano que adelanta la iniciativa OPHI con funcionarios oficiales de 13 países de Centro América y Suramérica, para analizar el caso colombiano y revisar los indicadores de cada nación según su propia realidad y coyuntura. / Mar. 13, 2017. (Fotografía Oficial Prosperidad Social / Emilio Aparicio Rodríguez).
Esta fotografía oficial del Departamento Administrativo para la Prosperidad Social está disponible sólo para ser publicada por las organizaciones de noticias, medios nacionales e internacionales y/o para uso personal de impresión por el sujeto de la fotografía. La fotografía no puede ser alterada digitalmente o manipularse de ninguna manera, y tampoco puede usarse en materiales comerciales o políticos, anuncios, correos electrónicos, productos o promociones que de cualquier manera sugieran aprobación por parte del Departamento Administrativo para la Prosperidad Social.
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