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O Conselho Nacional de Justiça – CNJ realiza, com apoio dos órgãos do Sistema de Auditoria Interna do Poder Judiciário – SIAUD-Jud, a quarta edição do Fórum Permanente de Auditoria do Poder Judiciário, nos dias 30, 31 de julho e 1º. de agosto no Auditório do CNJ
O evento teve por objetivo debater temas práticos e teóricos relacionados à atividade de auditoria, além de difundir as melhores práticas adotadas pelos órgãos públicos, elevando, portanto, o conhecimento dos servidores do Poder Judiciário para um patamar que permita a constante melhoria da avaliação dos processos de gerenciamento de riscos, de controles internos, de integridade e de governança.
Palestra sobre limites da atuação da Auditoria Interna e da Corregedoria na avaliação da gestão da área-fim dos tribunais
Juíz Alexandre Sá (TJCE)
Foto: Pedro França/Agência CNJ
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião para instalação da comissão e eleição de presidente e vice-presidente.
À mesa, presidente eventual da CMCVM, senadora Teresa Leitão (PT-PE), conduz reunião.
Foto: Waldemir Barreto/Agência Senado
Jurado del Concurso
Ceremonia de entrega de Premios del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que se celebró entre el 23 y el 25 de marzo´12 en la ciudad de Ávila, organizado por Juventudes Musicales de España y la asociación de Juventudes Musicales de Ávila.
La fase eliminatoria tuvo lugar en el Auditorio del Conservatorio de Música de Ávila y la fase final y entrega de premios en la Sala de Cámara del Centro de Congresos y Exposiciones LIENZO NORTE de Ávila.
H.E. Mr Kumar Tuhin, Permanent Representative of the Republic of India to the OPCW, and Ambassador Fernando Arias, Director-General of the OPCW
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública interativa destinada a debater o acesso às fórmulas dietoterápicas para erros inatos do metabolismo e outras condições de saúde raras e a qualidade das fórmulas nutricionais metabólicas disponibilizadas pelo Sistema Único de Saúde (SUS).
À mesa, presidente eventual da CASRARAS, senador Flávio Arns (PSB-PR).
Bancada:
nutricionista da Sociedade Brasileira de Triagem Neonatal e Erros Inatos do Metabolismo (SBTEIM), Soraia Poloni;
representante da Associação Mães Metabólicas, Simone Arede;
nutricionista do Centro de Referência em Doenças Raras do Hospital de Apoio de Brasília da Secretaria de Estado de Saúde do Distrito Federal, Monique Poubel;
coordenador-geral de Alimentação e Nutrição do Ministério da Saúde, Kelly Poliany de Souza Alves;
coordenador-geral de Doenças Raras do Ministério da Saúde, Natan Monsores de Sá.
Foto: Geraldo Magela/Agência Senado
Former Permanent Secretary for Lands, Barnaby Mulenga, opens up a lands workshop with cooperating partners and CSOs to take stock of land tenure activities in Zambia. June 2015. Meeting supported by USAID TGCC program. Photo: Matt Sommerville
John Frederick Kensett - American, 1816 - 1872
View on the Genesee near Mount Morris, 1857
West Building, Main Floor — Gallery 67
ohn Frederick Kensett was born on March 22, 1816, in Cheshire, Connecticut, the son of Thomas Kensett, an English engraver who had immigrated to America, and Elizabeth Daggett, a New Englander. By 1828, Kensett had begun studying engraving and drawing in his father's firm in New Haven and in 1829 he worked briefly for the engraver Peter Maverick in New York. Earning his living as an engraver during the 1830s, Kensett also began to experiment with landscape painting, encouraged by his friend John Casilear (1811-1893). In 1838 he exhibited a work entitled Landscape at the National Academy of Design in New York and by 1840 he had decided to become a full-time painter. In that year he sailed for Europe with fellow artists Casilear, Asher B. Durand (1796-1886), and Thomas P. Rossiter (1818-1871). After an extended stay in Europe, with visits to London, Paris, Germany, Switzerland, and Italy, Kensett returned to New York in 1847. He rapidly established a name as a landscape painter and was elected an Associate of the National Academy in 1848. In 1849 he was named a full member of the Academy and was also elected to membership in the prestigious Century Club, which brought him into contact with numerous leading artistic and literary figures of the day.
Kensett's early works were generally richly painted and owed much to the inspiration of Thomas Cole (1801-1848) and English landscape painters such as John Constable (1776-1837). Works from the early 1850s combined vigorous and expressive brushwork with carefully observed details of rocks, vegetation, and atmosphere in a strikingly effective way, and were well-received. By the middle and later 1850s his style had become more precise and meticulous, reflecting the influence of Durand, and he began to favor more tranquil and simplified compositions. Kensett was at the height of his powers in the 1860s and he created some of the most accomplished American landscapes of the nineteenth century. Although he occasionally painted large works, Kensett generally preferred to work on small to medium sized canvases. Unlike such contemporaries as Frederic Church (1826-1900) or Albert Bierstadt (1830-1902), who travelled to exotic and far-off locales in search of inspiration, Kensett returned again and again to favorite spots that were easily accessible to New York. Never tiring of the pictorial possibilities of these places, Kensett produced a substantial body of works that seem superficially similar, but in fact have subtle, but significant variations in composition, lighting, and atmosphere. He became so well known for painting certain places, including Bash-Bish Falls, Lake George, and the coastal areas of Newport, Rhode Island, and Beverly, Massachusetts, that many of his contemporaries invariably associated them with his name.
Kensett maintained a high profile in the artistic and cultural circles of New York and was respected and well liked by his fellow artists. In 1859 he was appointed a member of the National Art Commission, which was charged with overseeing the decoration of the Capitol in Washington. He was one of the founders of the Metropolitan Museum of Art in 1870 and also served as a member of its board of trustees. In these same years he began to experiment with simpler and more austere, even reductive, compositions. Many of his works from 1870-1872 were unfinished, but examples such as Eaton's Neck, Long Island (1872, Metropolitan Museum of Art) are remarkable for their powerful arrangements of a few boldly simplified shapes representing earth, sea, and sky.
On December 14, 1872, Kensett died in New York City, of pneumonia and heart disease contracted while trying to retrieve the body of a friend's wife from the waters off Contentment Island, Connecticut. His passing at the age of fifty-six was considered virtually a national tragedy, and when the contents of his studio were auctioned in 1873 they brought more than $136,000, an astonishing sum for the period. For many of his contemporaries Kensett had represented a kind of artistic epitome in landscape painting.
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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...
..
________________________________
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...
.
Abbott Handerson Thayer,
Born Boston, MA 1849-
died Dublin, NH 1921
Dublin Pond, New Hampshire - 1894
Abbott Handerson Thayer is recognized today for his ethereal angels, portraits of woman and children, landscapes, and delicate flower paintings. Angel is both a portrait of his daughter Mary at age eleven and an allegory of hope and spirituality. Thayer manipulated the paint with brooms, scrapers, his fingers, and even a paint tube to achieve his effects. The Renaissance-inspired frame, called a tabernacle type, was designed specifically for this painting by American architect Stanford White.
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The Smithsonian American Art Museum is the home to one of the most significant and most inclusive collections of American art in the world. Its artworks reveal America’s rich artistic and cultural history from the colonial period to today. The museum’s main building is located at Eighth and G streets N.W., above the Gallery Place/Chinatown Metrorail station. Admission is free.
The museum has been a leader in identifying and collecting significant aspects of American visual culture, including photography, modern folk and self-taught art, African American art, Latino art, and video games. The museum has the largest collection of New Deal art and exceptional collections of contemporary craft, American impressionist paintings and masterpieces from the Gilded Age. In recent years, the museum has focused on strengthening its contemporary art collection, and in particular media arts, through acquisitions, awards, curatorial appointments, endowments, and by commissioning new artworks.
Explore the sweep of the American imagination across four centuries at the nation's flagship museum for American art and craft. Dive into inspiring artworks, the reimagined collection, and an array of special exhibitions including Glenn Kaino: Bridge. Experience our offerings both online and in person at our two locations, including national educational programs, innovative research, video interviews with artists, virtual artist studio tours, lectures, audio guides, and more. Admission is always free.
Since 1968, the National Portrait Gallery has been housed in the former Patent Office building, a structure designed by Robert Mills in the neoclassical style and built between 1836-1867. This historic building, which is the third oldest government building in the city, is shared with another Smithsonian museum, the Smithsonian American Art Museum. The building's marble and granite porticos are inspired by those of the Parthenon in Athens, Greece.
An undulating steel and glass canopy wows visitors who enter the Kogod Courtyard. Inside you’ll find diners from the museum’s café, tourists soaking their weary feet in the shallow fountain running across the space, and students taking advantage of free Wi-Fi in the light and airy setting. The modern roof seals the center of the old Patent Office Building, currently shared by the National Portrait Gallery and American Art Museum. Architect Norman Foster designed the roof to have minimal impact on the building by creating a support system that prevents direct contact and weight placement on it. Unlike most of the other Smithsonian Museums located on the Mall, this gem is found in the busy Penn Quarter of downtown D.C. It is a favorite place to bring visitors, not only for the impressive courtyard space, but also for the preserved architecture of the patent offices on the top floor. Check the Smithsonian’s website for special courtyard workshops, concerts, or events. The museum is right near the Gallery Place/Chinatown Metro on the green, yellow, and red lines.
The Smithsonian American Art Museum showcases rotating exhibits, which have previously exposed visitors to work created in response to the Vietnam War, glasswork, native women artists and more. The Smithsonian American Art Museum also operates a separate branch, the Renwick Gallery, devoted to contemporary craft and decorative arts.
Permanent Skyspace by James Turrell. Yorkshire Sculpture Park, West Bretton, Wakefield, West Yorkshire, England, July 26, 2013.
Maria Zabolotskaya, Deputy Permanent Representative of the Russian Federation to the United Nations, addresses the Security Council meeting that heard a briefing by the United Nations High Commissioner for Refugees.
UN Photo/Ariana Lindquist
25 September 2026
New York, United States of America
Photo # UN71154954
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).
Théodore Gericault - French, 1791 - 1824
Mounted Trumpeters of Napoleon's Imperial Guard, 1813/1814
West Building, Main Floor — Gallery 52
Between 1812 and 1814, while Napoleon's armies waged war across Europe, Théodore Gericault began a series of small canvases depicting Napoleonic cavalry officers. These paintings provided Gericault with the opportunity to explore two of the subjects that he loved best: the horse and the pomp of military life.
The Trumpeters of Napoleon's Imperial Guard is part of this series. Gericault does not portray an individual, but rather a romantic ideal of the dashing soldier. Though the depiction of the officers suggests actual portraits, the painting is an invention. The painting's composition is based upon strong visual contrasts. Gericault used short, rapid brushstrokes to define the central figures in the foreground while using broader, more sweeping strokes to create a neutral background. He further distinguished the figures from the background through his use of color. The background is in dark tones, while the figures are in warm, vibrant tones, that cause them to advance toward the viewer. The brightly colored parade uniform gives the painting a sensuous appeal and provides visual unity as it is repeated across the canvas. Produced during the height of war, the artist makes no reference to its hardships or defeat; instead he creates a romantic image of military grandeur.
More information on this painting can be found in the Gallery publication French Paintings of the Nineteenth Century, Part I: Before Impressionism, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
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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...
..
________________________________
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...
.
Ecuador, 16 de mayo del 2025.- Integración de las comisiones especializadas permanentes, de Justicia y Estructura del Estado:
1. Asambleísta Torres Cadena Rosa Alegría
2. Asambleísta Nantipia Chumpi José Fernando
3. Asambleísta Torres Cobo Luis Esteban
4. Asambleísta Gallardo Ruiz Keevin Fernando
5. Asambleísta Olmedo Arias Marco Patricio
6. Asambleísta Jaramillo Rodriguez Anelisse Josebeth
7. Asambleísta Vera Morillo Nuvia Rocío
8. Asambleísta Palacios Alejandro César Gustavo
9. Asambleísta Molina Menéndez María Gabriela
10. Asambleísta Correa González Eliana Katherine
Foto: David Vela / Asamblea Nacional
Gallery opening of "Perminant Deviation" an interactive online work of art created using computer code. Artist: Julie Gendron, Programmer: Brady Marks. VIVO Media Arts Center, Vancouver, BC. March 14th, 2014.
Ecuador, 19 de noviembre de 2023.- Integración de las comisiones especializadas permanentes, de Transparencia, Participación Ciudadana y Control Social:
1. Asambleísta Patricio Alberto Chávez Zavala
2. Asambleísta Esperanza del Rocío Moreta Terán
3. Asambleísta Franklin Omar Samaniego Maigua
4. Asambleísta Gissela Siomara Garzón Monteros
5. Asambleísta Mónica de Jesús Salazar Hidalgo
6. Asambleísta Carmen Yolanda Tiupul Urquizo
7. Asambleísta Mariana Yumbay Yallico
8. Asambleísta Lucía Anabelle Posso Naranjo
9. Asambleísta Jorge Enrique Chamba Cabanilla
Foto Gabriela Ramos / Asamblea Nacional
elitepermanentmakeupla.com/ - We are the first permanent makeup training center to be approved by the Los Angeles county department of Public Health.
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Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
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Ecuador, 16 de mayo del 2025.- Integración de las comisiones especializadas permanentes, del Derecho a la Salud y Deporte:
1. Asambleísta Reyes Baquerizo Juan Jose
2. Asambleísta Blacio Carrion Diana Patricia
3. Asambleísta Azin Arce Annabella Emma
4. Ásambleísta Guschmer Tamariz Marcelo Andres
5. Asambleísta Becerra Contreras Anthony Sebastian
6. Asambleísta Tamayo Triviño Jorge Fabricio
7. Asambleísta Desintonio Malave Victoria Tatiana
8. Asambleísta Joseph Santiago Díaz Asque
9. Asambleísta Campos Tobar Hermel Andres
10. Asambleísta Jacome Benites Milena Cristina
Foto Gabriela Ramos / Asamblea Nacional
Benjamin West - American, 1738 - 1820
Telemachus and Calypso, c. 1809
West Building, Main Floor — Gallery 61
American-born Benjamin West was one of the most prominent artists in late eighteenth century London. President of the Royal Academy from 1792 until his death, he received many commissions from George III and other English patrons, and at the same time served as teacher and advisor to three generations of American artists in London. He was born in Springfield, Pennsylvania, near Philadelphia, on October 10, 1738. His earliest paintings were portraits of children, Robert and Jane Morris (c. 1752; Chester County Historical Society, West Chester, Pennsylvania). His exceptional talent was quickly recognized, and he painted portraits in eastern Pennsylvania and New York City (briefly), influenced by the work of John Valentine Haidt, William Williams, and John Wollaston. He went to Italy in 1760 to continue his study of painting and after three years, spent primarily in Rome, Florence, and Venice, he settled in London.
West worked primarily as a painter of historical and religious subjects, and as a portrait painter as patronage required. The first pictures he exhibited in London at the Society of Artists in 1764 were subjects from Renaissance literature, and within a few years he painted several classical subjects. George III then commissioned The Departure of Regulus from Rome (1769; Queen Elizabeth II), marking the beginning of royal patronage of West, who painted some sixty pictures for the King between then and 1801.
West is best known for his influential history painting, The Death of General Wolfe (1770; National Gallery of Canada, Ottawa), exhibited at the Royal Academy in 1771. A milestone in English and American art, this was the first major depiction of a contemporary event with figures in modern clothing. Its subject matter was the heroic death of an English general in battle against the French in Canada. Two later paintings with American subjects were Penn's Treaty with the Indians (1771-1772; Pennsylvania Academy of the Fine Arts, Philadelphia) and the unfinished Signing of the Preliminary Treaty of Peace in 1782 (1783-84; Henry Francis Du Pont Winterthur Museum, Winterthur, Delaware).
In the 1770's West subject matter began to include the religious themes that dominated his work of the late 1770's and 1780's. Most notable were his paintings on the progress of Revealed Religion for the Royal Chapel and designs for stained glass for St. Georges Chapel, both at Windsor Castle. Other commissions for Windsor included family portraits and eight paintings from English history for the Audience Chamber. As George III withdrew his support in the 1790s, William Beckford became an important patron, and commissioned religious paintings and portraits for his Gothic Revival country house, Fonthill Abbey. West died in London in 1820.
West during most of his career painted complex multifigure compositions and employed sophisticated glazing techniques that differed dramatically from the painting methods he had learned in Pennsylvania. The extraordinary stylistic and compositional differences between West's American and English work are due very much to his three years of study in Italy, when he absorbed the painting styles and compositions of Italian Renaissance and baroque painters, as well as those of his contemporaries. Later, as West became a pivotal figure in educating American-born artists in England, this knowledge in turn transformed the work of his pupils. Americans who studied with West before and during the Revolution included Matthew Pratt, Charles Willson Peale, and Gilbert Stuart. Among his students in the 1780s were Ralph Earl and John Trumbull. These and later Americans, including Washington Allston and Thomas Sully, brought West's ideas and techniques back to the United States, providing a foundation for the growth of the arts in America in the Federal period and creating a late eighteenth and early nineteenth century American style of considerable sophistication. [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
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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...
..
________________________________
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...
.
Chet Donovan Neymour, Ambassador, Permanent Representative of The Bahamas to the OAS
Date: November 5, 2025
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Fotografies de la sala de Secà i muntanya que forma part de l'exposició permanent del Museu Valencià d'Etnologia
Built between 1937 and 1959, the Organic Modern-style Taliesin West was designed by Frank Lloyd Wright and constructed by his apprentices to serve as the winter home of Wright and his Taliesin Fellowship. The complex, which consists of many buildings, began as a set of temporary, tent-like structures in the late 1930s, before evolving into more permanent buildings over the course of the 1940s, reflecting the ever-experimenting nature of the Taliesin Fellowship and Frank Lloyd Wright, something also seen at the original Taliesin in Wisconsin. Wright developed an architecture at Taliesin West that reflected the surrounding desert environment, with long, low stone buildings featuring long and narrow expanses of glass, shed roofs, stone walls, and timber framing, with rooflines that reflected the surrounding mountains, small areas of non-desert plantings, and buildings that were, alternatively, reminiscent of tent pavilions and stone caves. The complex is clustered around the main building, with much of the site remaining an undisturbed natural desert landscape, an increasingly rare feature of the greater Phoenix Area, which was already beginning to disappear during Wright’s lifetime. The site is home to rocks with petroglyphs created by the indigenous Hohokam people, along with remnants of their habitation of the site prior to their migration out of the region during a period of climate change, which was accompanied by severe flooding that damaged their irrigation canal infrastructure, in the 14th and 15th Centuries. The buildings surround various courts, gardens, and natural areas, and many incorporate Chinese sculptures near their entrances, collected by Frank Lloyd Wright due to his lifelong fascination with East Asian art.
The buildings consist of a main building, with a stone vault at its northwest corner. Built in 1937 as the first structure at Taliesin West, the cave-like stone vault meant to protect drawings created by Wright and the Taliesin Fellowship in the event of a fire, influenced by the fires that had previously destroyed Taliesin in Wisconsin. From this initial structure extends, to the southeast, a drafting studio with a canvas roof, large roof beams, ribbon windows, stone walls, and a wooden pergola on its northern flank, which contained the main drafting studio of the Taliesin Fellowship, and has a large entrance terrace on its south facade, with steps leading down to the pool and the prow at the southwest corner of the complex. To the east of the drafting studio is the kitchen, which features an exterior bell tower that would signal members of the Taliesin Fellowship to come to the dining room for meals, and dining room, which served as a large communal space for the Taliesin Fellowship and Wright. These public and communal spaces sit west of a breezeway that connects the northern patio with the sunset terrace on the south side of the complex. On the southwest side of sunset terrace is the Garden Room, a large living room utilized by both the Taliesin Fellowship members, as well as Wright’s family, as a gathering space, which encloses a small walled garden and, along with the breezeway, marks the transition between the more communal, public spaces at the western end of the main building with the more private rooms to the east. The eastern portion of the main building contains bedrooms and bathrooms for the Wright family, and a weaving studio utilized by Olgivanna to create textiles, with a ventilation tower, the tallest section of the complex, being located on the north side of this wing.
To the east of the main building are various cottages and residences for the Taliesin Fellowship, as well as Sun Cottage, the former residence of Iovanna Wright, the daughter of Olgivanna and Frank Lloyd Wright, which are simpler versions of the main building, and remain private living quarters today, not open to visitors taking tours of the complex. At the southeast corner of these structures is the cave-like Kiva, originally constructed to serve as a theater for the Taliesin Fellowship, which features stone walls and a rooftop terrace, and is connected to the main building via a covered walkway. At the northern end of the original complex is Frank Lloyd Wright’s office, which is extremely similar to the drafting studio, but at a smaller scale, and features the same ribbon windows, canvas roof with large beams, and stone walls seen on the drafting studio. To the north of the office is the Cabaret Theatre, built in 1950, which replaced the Kiva as a performance space and meeting space for the Taliesin Fellowship, and consists of a long, low cave-like structure built of stone and concrete that is embedded into the surrounding landscape. On the east side of the theater is the music pavilion, originally built in 1957, which was destroyed by fire and rebuilt in 1963 according to the original plans, and rivals the main building in size. West of these structures is the Visitor’s Center and Maintenance Building, which was built in the early 2000s to allow for additional visitor capacity at Taliesin West. Following the design of the rest of the complex, the visitor center harmonizes with the rest of Taliesin West, feeling like a natural extension of the buildings constructed with oversight by Wright.
Taliesin West was listed on the National Register of Historic Places in 1974, and was designated a National Historic Landmark in 1982. The structure is also part of The 20th-Century Architecture of Frank Lloyd Wright UNESCO World Heritage Site, listed in 2019. Taliesin West is the final resting place of the remains of Frank Lloyd Wright and Olgivanna Wright, which, controversially, led to the exhumation of Frank Lloyd Wright from Unity Chapel Cemetery in Spring Green, Wisconsin following Olgivanna’s death in 1985. The complex remained in use by the Taliesin Fellowship until it became The School of Architecture in 1986, which remained in operation seasonally at both Taliesin and Taliesin West until moving its operations to another location in Scottsdale in 2020. Taliesin West today is owned and operated by the Frank Lloyd Wright Foundation, which continues conservation work on the buildings, including reconstruction of various wings that were built quickly with low-quality materials, ensuring that the buildings continue to stand and remain open to visitors in perpetuity.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para debater o projeto de lei que tipifica o crime de misoginia.
Mesa:
advogada criminalista Soraia da Rosa Mendes.
Foto: Ton Molina/Agência Senado