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Tribunal Permanent dels Pobles (TPP). Sessió 1 juliol 2018: Frontera sud i intervenció de les jutgesses.
Toni Sánchez Poy @ToniSPoy
Permanent Secretary of the Bangkok Metropolitan Administration hand-carried Tipitaka leading the royal guest to the ceremony ground in front of the Bangkok City Hall where over 1,0000 participants are waiting.
14.12.2021 - Întrevederea online a Președintelui Parlamentului Igor Grosu cu Președintele Comitetului Permanent al Adunării Naţionale a Reprezentanţilor Poporului din Întreaga Chină, Li Zhanshu
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública preparatória para 29ª Conferência das Nações Unidas sobre as Mudanças Climáticas (COP29), de 2024.
Mesa:
representante do Engajamundo, Jarê Aikyry;
presidente eventual da CMMC, deputado Nilto Tatto (PT-SP);
representante da Coalizão Clima de Mudança, Marcele Oliveira.
Foto: Marcos Oliveira/Agência Senado
Permanent Magnets Ltd, is one of the Flagship Companies of Taparia Group, Mumbai and also one of the five
leading Manufacturers of Alnico Magnets and NdFeB Magnet, Permanent Magnet Pulleys, Magnetic Shields, Soft Magnetic Alloys, Powder Cores Manufacturers and Magnetic Filter from www.pmlindia.com.
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.
Brasília 26/05/2021 1ª Reunião da Comissão Permanente Interinstitucional para monitorar o cumprimento da Resolução CNJ 3692021 (das gestantes, mães e pais responsáveis por crianças e pessoas com deficiência), coordenado pelo cons. Mário Guerreiro.
Foto: Rômulo Serpa/Ag.CNJ
A demo of Century's Plastic Marker making permanent marking on plastic boxes
For more details please visit our website:
(Montecito Malibu Meander start at 04:00) Coast Village Chevron to the Rescue! (half a block to the East)
Hurricane Katrina is an unfortunate example of natural destruction. Immediate considerations had to be made in order to restore the city so that people could have places to live. Presently, restoration and new construction is under way to rebuild New Orleans. Learning from past mistakes, new construction is taking into consideration future possibilities of natural disasters in order to prevent such large scale damage from happening again.
This post is one piece to a string of images and coments to bring awareness to the recent earthquake in the Abruzzo region of Italy. Towns such as L’Aquila and Castelvecchio Calvisio are left damaged and crumbled from this unfortunate event. Rome is an example of restoration and preservation not only of architecture and art, but of culture. In this way, Rome can be an example and even help to the Abruzzo region because of its familiarity with these issues.
To follow this string, click this link to the following blog about Hurricane Katrina: www.examiner.com/x-27701-Dallas-Health-Examiner~y2009m12d...
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Pronunciamento na 2ª Plenária/2019 do Fórum Permanente das Microempresas e Empresas de Pequeno Porte, promovida pela
SDIC/SEMPE/SEPEC
Foto: Washington Costa/Ministério da Economia
Henri Matisse - French, 1869 - 1954
Woman Seated in an Armchair, 1940
East Building, Ground Level — Gallery 103-E
A woman wearing a pale blue and gray patterned top and turquoise skirt stretches out in an armchair in this stylized, almost square painting. The scene is loosely painted with areas of mostly flat color, especially in the background, so some details are difficult to make out. The woman is centered in the composition, and her legs stretch to our left. She has upswept dark brown hair, peach-colored skin, and her eyes, nose, and mouth are drawn with dark gray lines. Her blousy top is vertically patterned with lead-gray leaves down the front and elongated dots on the sleeves. Each sleeve also has a carrot-orange band on the upper arm. Her skirt is spearmint green, and she wears bone-white pumps. She sits in a canary-yellow armchair with red down the front of the arms and along the bottom, where the wood frame would be. One foot stretches to rest on a matching footstool, while her other leg is curled under her. The denim-blue floor tilts toward us and is covered with thin white lines in a chevron pattern. In the lower right is a red table with a bright yellow vase covered with swipes of brown and green. The vase is filled with elongated, abstract mauve-pink and mint-green shapes on slender white stems. The back wall of the room has an aqua-green cabinet to our left, which holds a silver urn and dishes of round objects. There is also a cantaloupe-orange footstool and other pieces of small furniture there, below paintings on the white wall. Above the woman is a white door with panels outlined in gray, and a section of black wall to our right has more paintings. The artist signed and dated the lower right, “Henri Matisse 40.”
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
From left to right:
Raúl Alberto Florentín Antola, Ambassador, Permanent Representative of Paraguay to the OAS
Luis Almagro, OAS Secretary General
Date: June 21, 2024
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanenter IVV-Wanderweg Nr. PW 231 RP_Bad Kreuznach - Bäderhöhenweg. Streckenlänge 21 KM, erwandert am 11 März 2016.
Permanent IVV trail No. PW 231 RP_Bad Kreuznach.
Name of the trail: Bäderhöhenweg.
Length of the trail: 21 KM, walked on 11th of March 2016.
The town of Bad Kreuznach is located in Rhineland-Palatinate in southwest Germany.
São Paulo, 11 de fevereiro de 2021.
Instalações das Comissões Permanentes do Processo Legislativo.
Foto: Afonso Braga
Tratamento: André Moura / Rede Câmara
Créditos Obrigatórios. Todos os direitos reservados conforme lei de direito Autoral Número 9.610.
Permanently Excluded Treatments in Health Insurance | You'll not get cover for these| Policy Planner
The Permanent Heads and World Council of the International Chamber of Commerce held meetings on 29 May in Paris during ICC’s centenary celebrations.