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Sabots, Netherlands.
Wood, leather; 20th c.
Gift of Annie B. Sweet
Topeka & Shawnee County Public Library Permanent Collection, S-18
Denis Moncada, Ambassador, Permanent Representative of Nicaragua to the OAS
Date: November 26, 2012
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Fu Cong, Permanent Representative of China to the United Nations and President of the Security Council for the month of May, briefs reporters on the programme of work for the month.
UN Photo/Eskinder Debebe
1 May 2026
New York, United States of America
Photo # UN71138110
Henry Fuseli
Oedipus Cursing His Son Polynices, 1786
West Building, Main Floor — Gallery 61
The bodies of four people are locked together through dramatic gestures and poses against a dark background in this nearly square painting. The two men have pale, peachy skin and the two women have ash-white skin, and together they almost fill the composition. A man with a white beard and hair wears a short-sleeved brown garment and sits to the right of center. His body faces our left and both of his arms reach straight out at shoulder height. His head juts forward and his bulging eyes appear white. He points at a younger man kneeling in front of him with his left hand. Near the left edge of the canvas, the younger man’s body also faces our left as he kneels on his left knee. His body leans forward over his right knee, which is bent so that foot is flat on the ground. His head is thrown back and his right hand, on our left, crosses his body and is raised as if to shield his face. His other arm extends so the raised flat of his hand is close to the old man’s face. The young man has dark hair and wears a tight-fitting, short-sleeved, golden yellow tunic. One woman with long blond hair rests her hands and leans her forehead onto the old man’s knee in the lower right corner. The second woman stands behind the pair of men with her arms spread wide so one hand reaches over the shoulder of the old man, and her other hand nearly touches the younger man’s head. She has long, curly brown hair, and she looks at the older man with her lips parted. Both women wear white and pale gray garments. There is the suggestion of blue sky beyond some trees along the left edge of the composition but the rest of the background is deep in shadow.
Fuseli, a native of Switzerland, began his career in England as a history painter. He developed an expressionistic style composed of a unique blend of influences—German romanticism, the monumental vision of Michelangelo, and the physical and psychological exaggerations of the 16th–century Italian mannerists.
Fuseli's own pessimism and fascination with the extremes of human passion are evident. He heightened the intensity of this scene from Sophocles' Oedipus at Colonus by placing Oedipus and his children in a dark, shallow space. The tragedy of the father's curse is played out through the gestures of the four figures. Polynices, who had expelled his blind father from Thebes and left him to live as a beggar, has come to ask his father's support in overthrowing his brother. Oedipus, enraged at his son's request, stretches out his accusing arms and levies his dreadful curse, by which each son would die at the hands of the other. Ismene, weak and despairing, kneels with her head on her father's knee. Antigone, whose strength and determination have kept her father alive, is highlighted above the terrible drama as she reaches out to protect her brother with one hand and restrain Oedipus with the other. Her gesture, however heroic, is futile.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fuseli was born in Zurich on 6 February 1741, the second son of the five children of Johann Caspar Füseli and Elisabeth Waser. Although educated as a theologian and ordained as a Zwinglian minister in 1761, Fuseli pursued a wide range of humanist studies, developing an enthusiasm for classical philology under the influence of Johann Jakob Breitinger, and becoming proficient in English, French, and Italian. He was introduced by Johann Jakob Bodmer, the mentor whom he most revered, to Homer, the Nibelungenlied, Dante, Shakespeare, and Milton, later the principal sources of his art. His associations with the Sturm und Drang movement were close. Forced, with Lavater, to leave Zurich in 1763 after publishing a pamphlet critical of the administration, he traveled in Germany, England, and France, embarking on a literary career.
Encouraged by Reynolds in 1768 to become a painter, Fuseli traveled to Italy in 1770 in the company of John Armstrong. He sought inspiration from classical sculpture, Michelangelo, and mannerist art, and, befriended by the Swedish sculptor Johan Tobias Sergel, became the leading spirit of a group of innovative young artists. Returning to London in 1780, Fuseli established his reputation with The Nightmare. Involved from the outset in 1786 with John Boydell's scheme for employing the most talented artists of the day on a Shakespeare Gallery, he devoted most of his time to paintings of Shakespearean themes until the opening of the gallery in 1789. In emulation of this project, he executed during the 1790s forty-seven paintings for a Milton Gallery in which the work was entirely his. Although many of these works were bought by his principal patron, Thomas Coutts, the exhibitions in 1799 and 1800 were not a public success.
Fuseli was elected an Associate of the Royal Academy of Arts in 1788, a full Academician in 1790, and Professor of Painting in 1799; he was obliged to relinquish the latter post after his election as Keeper in 1804, the year in which Benjamin Robert Haydon became his pupil, but the statutes were altered to allow him to resume it in 1810.
Fuseli's relationships with and attitude to women were highly important for his art. His most passionate love was for Anna Landolt, a niece of Lavater, whom he met in Zurich in 1778; but her father refused his suit. He married in 1788 Sophia Rawlins, an attractive young model obsessed with hair and fashion, who was socially and intellectually his inferior; there were no children, but she appears to have satisfied her husband's fetishistic and other desires. Mary Wollstonecraft's passion for him in 1792 was firmly put down by Mrs. Fuseli. Fuseli died suddenly on 16 April 1825, at the home on Putney Hill of Coutt's daughter, Lady Guilford, and was buried in Saint Paul's Cathedral, London.
________________________________
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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John Constable - British, 1776 - 1837
Salisbury Cathedral from Lower Marsh Close, 1820
West Building, Main Floor — Gallery 57
We look across an expanse of a flat, grassy lawn at the towering spire of a stone church outlined against billowing clouds in this horizontal landscape painting. The lawn is dappled with light filtering through a line of trees with thick, green canopies to our left. The trees take up almost the left half of the composition, and they line a dirt path where three people walk. Tiny in scale, the people are painted with strokes of slate blue, red, white, and black. A few animals, perhaps cows, graze on the lawn near more trees on the far side of the green. Beyond the trees, the church sits on the horizon, which comes about a quarter of the way up the composition. Miniscule touches of yellow, black, and red may suggest more people in the deep distance. The pale blue sky is nearly filled with puffy parchment-white and mauve-tinged clouds.
Born in East Bergholt, Suffolk on 11 June 1776, Constable was the second son of the six children of Golding Constable and Ann Watts. He was educated at a private school in Lavenham and at the grammar school in Dedham, subsequently joining the family business, of which it was intended he would succeed as manager. He learned the technique of painting from John Dunthorne (a local plumber and glazier who was an amateur painter), and was encouraged by Sir George Beaumont. Staying with relatives at Edmonton in 1796 he met John Cranch, a mediocre artist whose style he imitated, and John Thomas Smith, the antiquarian draftsman, with whom he made drawings of picturesque cottages. In 1799 his father gave him an allowance to enter the Royal Academy Schools, reluctantly consenting in 1802 to his becoming a professional painter. That same year Constable showed his first landscape at the Academy (where he was to exhibit nearly every year until his death), and acquired a studio opposite the family house. He spent summers in East Bergholt, sketching from nature, until 1817; in the autumn of 1806 he made a two-month visit to the Lake District.
In 1809 Constable met and fell in love with Maria Bicknell, but he was unable to marry her until 1816 owing to the opposition of Maria's grandfather. After the marriage the couple lived in London, first on Keppel Street, then, after 1822, on Charlotte Street. The marriage, which was the prelude to Constable's finest work, was a deeply happy one, and there were seven children, to whom the artist was devoted; Maria's health was far from robust, however, and she died in 1828, a blow from which Constable never fully recovered.
He was belatedly elected an Associate of the Royal Academy, but did not attain full Academicianship until 1829, an injustice that rankled. Although Constable himself never left England, he had three works shown in 1824 in the Paris Salon, where they were acclaimed by the French artists and were awarded a gold medal. This led to the sale in France of over twenty works and to demands for replicas--previously Constable had sold few of his pictures except to patrons who were already his friends. He still depended on financial support, however, from the family concerns managed by his devoted brother, Abram.
Constable found a retreat in Hampstead in 1820 and began his studies of clouds (or "skying") there the following year; in 1827 he bought the house on Well Walk, which remained his country home until his death. After his marriage he returned to Suffolk less frequently, but became better acquainted with the south of England, visiting Salisbury, Brighton, Arundel, and Petworth at various times between 1824 and 1835. All these visits, which enabled him to become familiar with the surrounding country, were productive of pictures. In 1829 he embarked on the publication of English Landscape Scenery, with mezzotints by David Lucas. In 1836 he delivered at the Royal Institution his celebrated series of lectures on the history of landscape painting. He died at Hampstead on 31 March 1837.
________________________________
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...
.
La Comisión Permanente no Legislativa para las Políticas Integrales de la Discapacidad para la IX Legislatura, se ha reunido con el siguiente orden del día:
1. Comparecencia de D.ª Carmen García Serrano, Presidenta de la Federación ASPACE Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00014).
2. Comparecencia de D.ª M.ª Carmen Navarro Honrado, Presidenta de la Federación de Salud Mental de Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00015).
3. Otros asuntos de interés.
La Comisión ha estado presidida por Emilio Sáez, PSOE, y han participado José Luis Escudero (PSOE), David Llorente (Podemos) y Cortes Valentín y Claudia Alonso (PP).
Sesión Extraordinaria urgente Comisión Permanente de Prerrogativas, Partidos Políticos y Candidatos Independientes | 14 de noviembre de 2018
Hundreds of refugees from across the country converged on Parliament House to demand that Albanese keeps his pre-election promise to provide permanent protection to end the long nightmare of 30,000 refugees on TPV's and other temporary visas without rights to family reunion.
Hundreds of refugees from across the country converged on Parliament House to demand that Albanese keeps his pre-election promise to provide permanent protection to end the long nightmare of 30,000 refugees on TPV's and other temporary visas without rights to family reunion.
El primer hotel on hi veig un endoll que no es desconnecta en sortir de l'habitació. Per carregar-hi el portàtil.
Large permanent spring urn featuring Garden roses, Cherry blossoms, and foliage. Prices range from $175.00 to $375.00
From left to right:
José Miguel Insulza, OAS Secretary General
Denis Moncada, Chair of the OAS Permanent Council and Permanent Representative of Nicaragua to the OAS
Date: February 15, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/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.
La Diputación Permanente de la LVIII Legislatura del Estado de México autorizó por unanimidad de votos las solicitudes de licencia temporal presentadas por los legisladores Fidel Almanza Monroy, Dora Elena Real Salinas y José Ignacio Pichardo Lechuga, todos del Grupo Parlamentario del PRI, para separarse del cargo del 6 al 20 de enero de este año.
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
Dario Paya, Ambassador, Permanent Representative of Chile to the OAS
Date: November 10, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
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423 aspirantes a agentes penitenciarios reciben formación para trabajar en penales.
La ministra de Justicia y Derechos Humanos, Marisol Pérez Tello, participó en la celebración por el “Día de la Resocialización” que reconoce el esfuerzo de los internos por modificar su conducta y reinsertarse con éxito en la sociedad a través del trabajo y del estudio.
En el establecimiento penitenciario del Callao, la titular del sector participó en la oficialización del programa “Orquestando” auspiciado por el INPE y el ministerio de Educación que promueve la educación musical de reclusos del Centro de Educación Básica Alternativa, CEBA.
Los talleres de música son permanentes y de manera paralela a las clases. Para ello el INPE adquirió Instrumentos básicos, pues la visión es conformar una orquesta sinfónica integrada por privados de libertad.
El “Día de la Resocialización” se instituyó hace 31 años y demuestra que a pesar de las condiciones difíciles de reclusión, las personas pueden salir adelante con el apoyo del Estado.
En la jornada, la ministra acompañada por el Jefe del INPE, Carlos Vásquez Ganoza, también participó en la ceremonia de incorporación de aspirantes a agentes penitenciarios en el Centro Nacional de Estudios Criminológicos y Penitenciarios (CENECP).
En un riguroso proceso de admisión con apoyo de la Universidad San Marcos, fueron seleccionados 423 alumnos, el 80% de los cuales tiene formación universitaria y técnica. Ellos recibirán instrucción en competencias profesionales, basada en el respeto a los derechos humanos y la rehabilitación de personas.
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