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Derma-pigmentation hair by hair (eyebrows) by GloriaPelo www.gloriapelo.com www.gloriapelobrides.com
Posse do Colégio Permanente de Corregedoras e Corregedores-Gerais dos Tribunais de Justiça do Brasil (CCOGE)
Foto: Rômulo Serpa/Ag.CNJ
3 de junio de 2012.
*CAMPAÑAS PERMANENTES EN MATERIA DE PROTECCIÓN ANIMAL Y DE ESTERILIZACIÓN
PARA MASCOTAS*
Adolfo Camacho Esquivel, Candidato a Presidente Municipal de Querétaro por
el Partido de la Revolución Democrática afirmó que durante sus recorridos
de campañas recibe la petición de los ciudadanos de abordar el tema de la
Protección Animal, por esa razón propone la creación del Departamento
Municipal de Protección Animal.
"El Departamento tendría como fin evitar que los animales domésticos y
mascotas sean maltratados o abandonados, el departamento contará con
personal capacitado para apoyar socialmente en este tema" afirmó el
candidato del sol azteca.
Camacho Esquivel explicó que "realizaremos una campaña permanente de
difusión en materia de protección animal, de conservación y respeto a la
fauna silvestre; al mismo tiempo impulsaremos una campaña permanente de
esterilización para mascotas en todo el municipio".
El candidato mencionó que " el departamento atenderá el asunto de la
sanidad animal que prevendrá problemas de infecciones y enfermedades que
provoca la falta de control de los animales domésticos y mascotas".
"Al atender la situación de animales en la calle, disminuiremos los
accidentes de tránsito provocados por animales callejeros; esta situación
se da cuando los animales son abandonados y viven en la calle, se estima
que el sólo veinte por ciento de los perros que habitan en zonas urbanas
está bajo el cuidado de dueños o responsables de tiempo completo y el resto
son callejeros u ocasionalmente atendidos por alguna persona" explicó
Adolfo Camacho.
El candidato consideró que "el tema de la atención animal es un reclamo
social que requiere ser atendido, incluso varios organismos internacionales
como la UNESCO y ONU, recomiendan a los estados atender el problema de
maltrato animal".
Finalmente, el candidato consideró que "con la creación del Departamento
Municipal de Protección Animal, cumpliremos con varias de las obligaciones
que señala la Ley de Protección Animal del Estado de Querétaro y, que
actualmente, no cumple la administración municipal de Querétaro".
John E. Beale, Ambassador, Permanent Representative of Barbados to the OAS
Date: July 13, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Apresentação das práticas candidatas ao Prêmio Auditoria Geração de Valor – Eixo III.
Foto: Rômulo Serpa/CNJ
The GM name has always been part of Moraine, Ohio. But the town is recovering after GM closed its truck assembly plant here last year.
Christoffer Wilhelm Eckersberg - Danish, 1783 - 1853
View of the Cloaca Maxima, Rome, 1814
West Building, Main Floor — Gallery 91
A person, tiny in scale, walks along a path between two grassy mounds that lead back to a band of brown buildings that span the width of this horizontal landscape painting. The grassy mounds are covered with frosty and spring green growth, with a few patches of ivory-white dirt. The person wears a brimmed, straw-yellow hat, a long-sleeved white shirt, knee-length brown pants over white stockings, and a red garment slung over one shoulder. He walks away from us toward a tunnel that runs alongside the right-hand mound, into the heart of the town beyond. The buildings are oatmeal brown, beige, or muted red, and have gray roofs. We can see into a few buildings closest to us. To our left, strokes of parchment brown suggest laundry hung across an open space inside one structure. Plants grow over the wide central arch of a partially ruined building beyond this, also to our left. Other buildings are stacked and staggered along the rolling hills into the distance. In the top third of the painting, thin white clouds float across a pale blue sky.
In 1803, at the age of 20, Christoffer Wilhelm Eckersberg went to Copenhagen to study at the Royal Dutch Academy of Fine Arts. After a sojourn in Paris, where he studied with Jacques-Louis David (1748–1825), and Rome, where he became part of a group of international artists engaged in the practice of plein air painting, he returned to the Royal Dutch Academy, first as professor and later director. Eckersberg is often referred to as the father of Danish painting for his influence on the generation of young artists who would come to be associated with the Golden Age of Danish painting during the first half of the 19th century.
Much of what we know about Eckersberg's working methods comes from the artist himself. In addition to the many letters he wrote from abroad, he authored two books on perspective and kept extensive personal diaries. During his stay in Rome, Eckersberg wrote of his work in a letter to his friend J. F. Clemens, "I intend to make a collection of the most beautiful of the many picturesque parts of Rome and the surrounding area. I have been working on them throughout the spring. I have already almost half a score of small sketches finished, all of which were completed on the spot after nature. I limit myself especially to architectural things." Painted in 1814, View of the Cloaca Maxima, Rome comes out of this experience of painting from direct observation. Although the artist himself refers to such paintings as sketches, the highly finished surface and meticulous brushwork of this painting suggests otherwise. Recent scientific examination has revealed extensive graphite drawing underneath the paint layer. Nevertheless, the painting conveys a feeling of immediacy, freshness, and sense of place typically associated with plein air practice.
Remarkable for its attention to detail and unusual viewpoint, the focus of View of the Cloaca Maxima, Rome seems to be on the architectural lines and their articulation of the pictoral space rather than on the famous buildings themselves. Landmarks are difficult to spot—the ancient Roman sewer system nestled beneath the hillsides in the center foreground, the Janus Arch to the left and the San Giorgio Church to the right in the middle ground, and the Campidoglio in the background. The tension created by Eckersberg's interest in linear perspective and nature study, a bridge of sorts between 18th- and 19th-century thought, is eased by the quiet Mediterranean light that bathes the scene.
Eckersberg exhibited this picture in 1828 as a pendant to his Panorama of Rome through Three Arches of the Colosseum (Statens Museum for Kunst, Copenhagen). Along with that famous work, View of the Cloaca Maxima, Rome is one of his true masterpieces of landscape painting.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Allan Culham, Ambassador, Permanent Representative of Canada to the OAS
Date: October 17, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Rodrigo Vielmann, Ambassador, Permanent Representative of Guatemala to the OAS
Date: May 16, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública para debater a normatização do acesso das pessoas com doenças raras a medicamentos, dispositivos médicos e tecnologias no âmbito do Sistema Únio de Saúde (SUS).
Mesa:
defensor público federal Ricardo Emílio Pereira Salviano;
diretor de Relações Governamentais do Sindicato da Indústria de Produtos Farmacêuticos (Sindusfarma), Renato Benine.
Foto: Marcos Oliveira/Agência Senado
Linda Thomas-Greenfield (at podium), Permanent Representative of the United States to the United Nations, delivers a joint statement on the 1718 Committee Panel of Experts Mandate Renewal, on behalf of the United States, Ecuador, France, Malta, Japan, Slovenia, Switzerland, Republic of Korea, and the United Kingdom. At left is Joonkook Hwang, Permanent Representative of the Republic of Korea to the United Nations.
UN Photo/Loey Felipe
28 March 2024
New York, United States of America
Photo # UN71031710
Woman with a Parasol - Madame Monet and Her Son, 1875
Claude Monet
West Building, Main Floor — Gallery 85
The artist’s wife Camille stands on a hill with their son Jean behind her. Monet worked quickly to record this moment. Sketching the sky in chaotic strokes of blue and gray, he left areas of canvas exposed in his haste. The grass is more densely painted in short brushstrokes of green, blue, and brown. Small dabs of yellow suggest buttercups, and the color is reflected on Camille’s sleeve. The dense slashes of brilliant white on the back of her skirt and jacket catch the light. Completed in a single outdoor session, this is a celebration of color and light.
From low on a hillside, we look up at a light-skinned woman and boy standing in tall grass against a sunny blue sky in this vertical painting. The woman stands at the center of the composition, and the moss-green parasol she holds over her head almost brushes the top edge of the canvas. Her body faces our left but she turns her head to look at us. Her long dress is painted largely with strokes of pale blue and gray with a few touches of yellow. Her voluminous skirts swirl around her legs to our left. She holds the parasol with both hands, and her brown hair is covered with a hat. Long strokes of white paint across her face suggest a veil fluttering in the breeze. The tall grass she stands in is dotted with buttercup yellow and plum purple, and she casts a long diagonal shadow along the grass toward us. The young boy seems to stand on the other side of the hill, since the grass and flowers comes up to his waist. He wears a white jacket and pale yellow straw hat. His arms are by his sides, and he seems to look off into the distance to our left. A sunny blue sky behind the people is dotted with bright blue clouds. The painting is created with loose brushstrokes throughout, and they are especially choppy in the clouds. The artist signed and dated the painting in royal-blue letters at the lower right: “Claude Monet 75.”
With Manet's assistance, Monet found lodging in suburban Argenteuil in late 1871, a move that initiated one of the most fertile phases of his career. Impressionism evolved in the late 1860s from a desire to create full–scale, multi–figure depictions of ordinary people in casual outdoor situations. At its purest, impressionism was attuned to landscape painting, a subject Monet favored. In Woman with a Parasol – Madame Monet and Her Son, his skill as a figure painter is equally evident. Contrary to the artificial conventions of academic portraiture, Monet delineated the features of his sitters as freely as their surroundings. The spontaneity and naturalness of the resulting image were praised when it appeared in the second impressionist exhibition in 1876.
Woman with a Parasol was painted outdoors, probably in a single session of several hours' duration. The artist intended the work to convey the feeling of a casual family outing rather than a formal portrait, and used pose and placement to suggest that his wife and son interrupted their stroll while he captured their likenesses. The brevity of the moment portrayed here is conveyed by a repertory of animated brushstrokes of vibrant color, hallmarks of the style Monet was instrumental in forming. Bright sunlight shines from behind Camille to whiten the top of her parasol and the flowing cloth at her back, while colored reflections from the wildflowers below touch her front with yellow.
________________________________
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 Diputación Permanente presidida por la diputada Leticia Mejía García convocó a la 59 Legislatura mexiquense a su décimo periodo extraordinario de sesiones, el próximo jueves 23 de agosto.
Fórum Permanente de Auditoria do Poder Judiciário – Edição 2026.
Premiação - Prêmio Auditoria Geração de Valor – 2026
Foto: Luiz Silveira/CNJ
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
Portrait of a Woman Aged Sixty - 1633
Frans Hals
Dutch, c. 1582/1583 - 1666
The strength and vitality of the people who helped establish the new Dutch Republic are nowhere better captured than in the work of Frans Hals, who was the preeminent portrait painter in Haarlem, the most important artistic center of Holland in the early part of the seventeenth century. This unidentified sitter—one of Hals’ most impressive portraits—was sixty years old when the painting was made, according to the artist’s inscription. Hals conveys her strong personality through the twinkle in her eyes, the smile on her lips, the firm grip of her hand on the chair, and the boldness of her silhouette against the light gray-brown background. The small Bible or prayer book she holds implies a pious character, and her clothing is conservative for the period. The velvet-trimmed brocade jacket, satin skirt, and lace cuffs and cap are nonetheless of the highest quality and remind us that Haarlem’s wealth derived from the processing of and trade in textiles. The woman’s elaborate linen ruff collar, starched and supported by concealed wires, was gradually going out of style at this time.
Hals’ portraits were often commissioned as pendants in which a husband and wife face each other, with the man on the left and the woman on the right. It is quite possible that a similarly sized Portrait of an Elderly Man standing behind a chair, currently in the Frick Collection, New York, is the pendant to this superb and engaging work.
Son of Franchoys Hals, a cloth worker from Mechelen, and Adriana van Geertenryck of Antwerp, Frans Hals was probably born in Antwerp in about 1582 or 1583. Sometime after the fall of Antwerp to the Spanish in August 1585, the family moved to Haarlem, in the northern Netherlands. Dirck Hals (1591–1656) followed in his brother Frans’ footsteps and became a painter; a third brother, Joost (died before October 16, 1626), apparently worked as an artist as well, but no works by him have been identified.
According to the posthumous second edition of Karel van Mander’s Het schilder-boeck (1618), Frans Hals had studied painting with the author (1548–1606); if so, this training probably occurred before 1603, when Van Mander left Haarlem for a country estate outside the city to finish writing his book. Van Mander’s teachings, however, did not appear to have much effect on Hals, who rarely depicted the type of subjects that Het schilder-boeck urged young artists to choose and whose style bears no obvious resemblance to that of his mentor. Nonetheless, it should also be noted that extremely little is known of Hals’ activities prior to his late twenties, and it is conceivable that as-yet unearthed or unidentified juvenilia will necessitate a reappraisal of his early career.
Hals is first documented as an artist in 1610, when he entered Haarlem’s Saint Luke’s Guild. His wife, Annetje Harmansdr, died in June 1615, leaving him with two young children, one of whom, Harmen (1611–1669), became a painter. The next year Hals made his only recorded trip outside Holland, traveling to Antwerp, where he stayed from August until November. He remarried in 1617 to Lysbeth Reynier, a feisty woman who was reprimanded by the city authorities on several occasions for brawling. She bore the artist at least eight children—one baptized nine days after the wedding—including the artists Frans the Younger (1618–1669), Reynier (1627–1671), and Nicolaes (1628–1686). Another artist named Jan or Johannes (active c. 1635–1650) was also probably a child of this marriage, and a daughter, Adriaentje, married the Haarlem genre and still-life painter Pieter Gerritsz van Roestraten (1629/1630–1700), bringing the total number of artists in the family to about a dozen, if one includes Hals’ brothers and nephews.
Although Hals specialized in portraiture, he also painted genre scenes and images of the four evangelists. In his early maturity, from 1616 to 1625, he was associated with a Haarlem rederijkerskamer (rhetoricians’ chamber) called De Wijngaertranken (the Grapevines). Appreciation of his painting skills, to which a number of important group portrait commissions testify, was documented as early as 1628, when Samuel Ampzing’s general description of the city of Haarlem included a passage praising Hals’ ability to capture the spirit of his portrait sitters. Despite this recognition, Hals was continually plagued by financial difficulties. Even during the 1630s, when his services as a portraitist seem to have been in the greatest demand, he is known to have been sued by his butcher, his baker, and his shoemaker in pursuit of unpaid debts. In 1654 he paid a debt to a baker by surrendering his household goods and several paintings, and from 1662 until his death he received relief from the burgomasters—an initial gift of 50 guilders, plus an annual allowance of 150 guilders per year, increased to 200 guilders in 1663.
Hals died in Haarlem on August 29, 1666, and was buried in the Church of Saint Bavo on September 1. His only documented pupils were his son-in-law Van Roestraeten and Vincent Laurensz van der Vinne (1628–1702). Houbraken states that Brouwer, Adriaen, Dirck van Delen (1604/1605–1671), Wouwerman, Philips, Ostade, Adriaen van, and Hals’ sons also trained in his studio. His style can be felt in the work of his brother Dirck and that of Leyster, Judith and her husband, Jan Miense Molenaer (c. 1610–1668). Despite his artistic success, Hals was almost totally forgotten after his death. It was not until the 1860s and the rise of realism and then impressionism in the late nineteenth century that the vigorous and free brushwork that brought his portraits of Dutch burghers so vividly to life was once again appreciated by critics, collectors, and contemporary artists.
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Permanent Representative of Slovakia to the OPCW, H.E. Ambassador Juraj Macháč, and OPCW Director-General, H.E. Mr Fernando Arias
Ministro Marcos Jorge participa do Fórum Permanente das Microempresas e Empresas de Pequeno Porte - FPMPE.
Foto: Washington Costa/MDIC