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Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza reunião para instalação e eleição de presidente e vice.
Mesa:
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
vice-presidente CEEEFCB, senador Marcos do Val (Cidadania-ES).
Foto: Roque de Sá/Agência Senado
Comissão Permanente de Saúde, Promoção Social Trabalho e Mulher-Photo-Luiz França - Camara Municipal de São Paulo -
A Comissão de Saúde, Promoção Social, Trabalho e Mulher realizou, de forma semipresencial, uma reunião ordinária. Em pauta, seis itens, sendo eles: quatro PLs (Projetos de Lei), um PR (Projeto de Resolução) e um requerimento.
Fotos Luiz França / Rede Camara
@luizfrancaofotografo
Créditos Obrigatórios.
Todos os direitos reservados conforme Lei 9610-98 de Direitos Autorais
Bar Room
9:15 p.m.
Note: Our table wasn't quite ready, so we waited at a table in the bar. When we left at 11 p.m., it was still very busy.
This area has been an important source of permanent water for aborigines for millennium because water is retained in deep pools & crevices.
Mutawintji National Park, N.E. of Broken Hill, N.S.W.
Briefing for Geneva-based Permanent Missions on the work of the ITU Telecommunication Development Bureau, with a focus on projects
01 November 2023
Geneva, Switzerland
©ITU/D.Woldu
Entrega de títulos do Programa Permanente de Regularização Fundiária Plena de Núcleos Urbanos Informais e Favelas - Solo Seguro Favela.
Na foto (da esquerda para a direita): Conselheiro Luiz Fernando Bandeira, o Prefeito de São Paulo Ricardo Nunes, os agraciados com o título do Programa Solo Seguro Favela e os Conselheiros Guilherme Guimarães Feliciano e José Rotondano.
Foto: G. Dettmar/Ag. CNJ
Guillermo Cochez, Ambassador, Permanent Representative of Panama to the OAS
Date: April 25, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Jacek Bylica, IAEA Chief of Cabinet welcomes Ms. Martina Schubert, Deputy Director, Diplomatische Akademie Wien – Vienna School of International Studies upon her arrival 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
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
William Trost Richards - American, 1833 - 1905
October, 1863
West Building, Main Floor — Gallery 64
A dirt path winds through a dense forest with leaves that glow gold around silvery-gray boulders in this vertical landscape painting. Close to us, the boulders are partially covered with moss and growth in shades of green and russet red. Sunlight from the upper right catches a sapling crowned with flame-red leaves that angles in from the lower right corner of the painting. Beyond it leafy yellow-green shrubs crowd beside two more putty-gray boulders. The path recedes just left of center and is lined by trees covered with rough bark. The path ends at a fiery copper glow in the distance. The artist signed and dated the painting in the lower right corner: “WM. T. Richards Phil. 1863.”
Richards' early work as a landscape painter was strongly influenced by the paintings of the Hudson River School, which was at that time in its most active and creative phase. These works followed the school's well-established formulas for depicting expanses of rural and wild scenery in a romanticized and stylized manner. In 1858, Richards saw an exhibition of English Pre-Raphaelite paintings in Philadelphia. These works displayed a hyperrealistic style, brilliant coloring, and often addressed subjects pertaining to history, literature, religion, or modern society.
Under the influence of the Pre-Raphaelites, Richard's landscape style changed dramatically, becoming more meticulous and precise. He abandoned the panoramic compositions he had favored earlier for more closely focused views of forest interiors with highly detailed foregrounds.October is of impressive scale for this period of his work, a marvel of careful observation and scrupulous portrayal reflecting the influence of the Pre-Raphaelite painters. The foreground, with its lovingly detailed rocks and plants, is overarched by trees resplendent with autumn foliage. In the distance, the forms of the forest dissolve in a radiant display of color and light, animated by small specks of blue sky revealed amidst the leaves.
The same year he painted October, Richards was elected a member of the Association for the Advancement of Truth in Art, a group of American Pre-Raphaelite followers who similarly sought spiritual truths through a diligent and detailed study of nature. Although this movement was relatively short-lived, lasting less than a decade, it resulted in a number of exceptional landscape and still life works by artists including Richards, Thomas Charles Farrer, and John Williams Hill. While Richards's Pre-Raphaelite paintings are considered by many to be his finest accomplishment, they are few in number. After 1867, the artist turned his attention to marine subjects, producing seascapes executed with an eye more focused on atmosphere and drama than exacting fidelity to nature.
William Trost Richards was born in Philadelphia and began to draw at a young age. At thirteen he was forced to leave school to support his family and found a job designing ornamental metal fixtures. He continued to study art, eventually taking classes at the Pennsylvania Academy of the Fine Arts and exhibiting his first work there in 1852.
In 1855 he made the first of several trips to Europe to look at art. An admirer of the great American landscape artists of his day, Frederic Edwin Church and John F. Kensett, Richards was also interested in European interpretations of landscape. During his many trips, he visited American artists working abroad. Richards made his home in Philadelphia and spent summers at Atlantic City and Cape May, New Jersey. In 1890 he settled in the seaside town of Newport, Rhode Island.
Rocky coasts, beaches, and rolling waves were the subjects that established Richards' reputation as a painter in the nineteenth century. A draftsman and landscape painter, Richards initially depicted woodland scenes but eventually specialized in seascapes. His work, done in oil and later in watercolor, was highly regarded for its precise detail, and, at the same time, the spaciousness of his scenes.
________________________________
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...
.
A Subcomissão Permanente de Promoção, Acompanhamento e Defesa da Saúde debate as deficiências no Sistema Único de Saúde (SUS).
Na mesa:
Doutor pela Universidade de Direito da Universidade de São Paulo e Especialista em Direito Sanitário, Marco Aurélio Torronteguy.
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.
________________________________
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...
.
Ana Irene Delgado, Ambassador, Permanent Representative of Panama to the OAS
Date: September 3, 2024
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
El título tendría que haber sido DIÁCONO simplemente, pero en las estructuras eclesiales el diaconado se convirtió hace tiempo en un paso más hacia el presbiterado. En la Iglesia católica ‘romana’ a los presbíteros se les exige el celibato, y Oskar, casado con Elena Carmona, también viator asociada, no puede acceder al presbiterado; de ahí lo de ‘permanente’.
El diaconado surge con el objetivo de atender a las personas empobrecidas de la comunidad cristiana, pero hoy también abarca otros campos como el ministerio de la palabra:
Por aquellos días, al multiplicarse los discípulos, hubo quejas de los helenistas contra los hebreos, porque sus viudas eran desatendidas en la asistencia cotidiana. Los Doce convocaron la asamblea de los discípulos y dijeron: «No está bien que abandonemos la palabra de Dios por servir a las mesas. Por tanto, hermanos, buscad de entre vosotros a siete hombres de buena fama, llenos de Espíritu y de saber, para ponerlos al frente de esa tarea; mientras que nosotros nos dedicaremos a la oración y al ministerio de la palabra.» La propuesta pareció bien a toda la asamblea, y eligieron a Esteban, hombre lleno de fe y de Espíritu Santo, a Felipe, a Prócoro, a Nicanor, a Timón, a Pármenas y a Nicolás, prosélito antioqueno. Los presentaron a los apóstoles y, después de hacer oración, les impusieron las manos. (Hch 6, 1-6)
Oskar, desde estas páginas, te deseamos que fiel a la llamada del Señor y de la comunidad sigas al servicio de la toda la comunidad cristiana y a las y los empobrecidos de nuestra sociedad.
Riyad Mansour, Permanent Observer of the State of Palestine to the United Nations, briefs reporters after the Security Council meeting on the situation in the Middle East, including the Palestinian question.
UN Photo/Loey Felipe
25 October 2023
New York, United States of America
Photo # UN71008400
Walt Disney World Orlando Florida theme park and rides in Disneys Epcot Center
amusement park 2012 Permanent World's Fair
Archibald John Motley Jr. - American, 1891 - 1981
Portrait of My Grandmother, 1922
West Building, Main Floor — Gallery 66
Shown from the knees up, a woman with brown, wrinkled skin, wearing a white blouse, apron, and black skirt is shown in front of a pale gray background in this vertical portrait painting. Straight-backed, she faces and looks at us with her hands resting in her lap. Her wavy, iron-gray hair is parted in the center and pulled back from her face. Her eyebrows are slightly raised, and her face is deeply lined down her cheeks and around her mouth. She wears a heart-shaped brooch with a red stone at its center at her neck and a gold band on her left ring finger. The light coming from our left casts a shadow against the wall to our right. The artist signed and dated the painting in the lower right corner: “A.J. MOTLEY. JR. 1922.”
Archibald John Motley Jr. created this portrait of his 80-year-old grandmother, Emily Sims Motley (1842–1929), in 1922. Born enslaved by the Kittredge family, Emily lived through the Civil War on a sugar plantation in Louisiana. In 1894, she and her family settled in Chicago, where her son—the artist’s father—worked as a Pullman porter on regional trains.
Archibald Motley graduated from the School of the Art Institute of Chicago in 1918. At the time he completed this painting, he lived on the South Side of Chicago with his parents, his sister and nephew, and his grandmother. In Portrait of My Grandmother, Emily wears a white apron over a simple blouse fastened with a heart-shaped brooch. She looks directly at the viewer (and at her grandson, as he was in the process of painting this portrait). With sympathetic honesty, Motley acknowledged his grandmother’s age, detailing the hollows under her eyes and her delicately wrinkled chin. Her hands, marked by age and manual labor, rest on her lap. Motley has taken special care to note Emily’s gold wedding ring.
Bolstered by a pared-down setting and simple backdrop, much of the composition is dominated by a single color, white. Motley expertly differentiates between varying shades: the slightly sheer sleeves of her blouse, the brighter white tie of her apron, and the touches of white in her hair. Behind Emily, her slender shadow is a quiet, ghostly presence against the soft white wall.
Motley’s art studio and his grandmother’s bedroom were on the top floor of the family home. At the end of each day, the artist lovingly carried his elderly grandmother up the stairs to her room. Motley’s portrait of the family matriarch is both truthful and dignified, commanding yet understated.
________________________________
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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CNA Madeira 2023
Percursos permanentes
Hoje foi dia de concretização de dois desafios que ha muito vinham a ser preparados. Um dos desafios foi a concretização de uma das etapas da Taça de Portugal de Sprint em solo Madeirense, mais propriamente na belíssima freguesia de Boa Ventura. Outro desafio foi a inauguração do primeiro bloco de percursos permanentes de Orientação na Região Autónoma da Madeira, também ele na freguesia de Boa Ventura. Trata-se de um bloco de três percursos permanentes com níveis de dificuldade distintos.
- O percurso Curto conta com uma extensão linear de 1,6 km e 12 pontos.
- o percurso médio conta com uma extensão linear de 2,9 km e 15 pontos.
O percurso longo conta com uma extensão linear de 4,9 km e 24 pontos.
Para efetuar estes percursos terão de instalar a App IOrienteering (gratuita) e adquirir o(s) mapa(s) na Junta de Freguesia de Boa Ventura e terão um custo de 3€ (cada). Este valor reverterá exclusivamente para a manutenção do percurso/mapas.
Queremos deixar, desde já, o nosso particular apreço e profundo reconhecimento/agradecimento à Junta de Freguesia de Boa Ventura, na pessoa do seu presidente @Joaquim Dos Santos, bem como a sua restante equipa diretiva e operacional pelo apoio incondicional, carinho, acreditar e empenho demonstrado pela modalidade de Orientação. 👏
#campeonatonacionalabsoluto2023 #percursospermanentesboaventura
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
Roberto Saladin, Ambassador, Permanent Representative of Dominican Republic to the OAS
Date: July 09, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.