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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 Ministério dos Povos Indígenas, Ceiça Pitanguary - em pronunciamento;
secretária de Mudança Climática do Ministério do Meio Ambiente, Ana Toni;
presidente eventual da CMMC, deputado Nilto Tatto (PT-SP);
diretora do Departamento do Clima do Ministério das Relações Exteriores (MRE), embaixadora Liliam Beatris.
Foto: Marco Oliveira/Agência Senado
Permanent Makeup plays The Drunken Unicorn, Atlanta, GA on September 18, 2015.
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.
Another permanent I'm working on -- this one takes Portland-Ripplebrook-Portland and stretches it out to 300km by simply adding a loop along NFs 46/42/58/57.
It's only got about 2 miles of climbing (and approximately 100 miles between controls unless you start early or are fast enough to get back down to Ripplebrook Guard Station before 5pm. A 5am start should be enough.)
The Permanent Representative of Singapore to ASEAN, H.E. Amb. Kok Li Peng, paid a courtesy call on the Secretary-General of ASEAN, H.E. Dr. Kao Kim Hourn, on 17 January 2023 at the ASEAN Secretariat.
Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya
Going into the clouds in Jacksonville Airport. Men's room version. Jacksonville, Florida. International Airport restroom installation.
Tour of the Georgia O’Keeffe Home and Studio - Abiquiu, New Mexico - August 22, 2025
Georgia O’Keeffe first visited the village of Abiquiú (pronounced Ah-bih-cue) in 1931, and nearly two decades later made it her permanent home.
Located 60 miles northwest of Santa Fe, the home is open to the public for guided tours seasonally with advance reservations.
The Abiquiú Home & Studio Tour season runs from March to November. Click below for more information and to book a tour.
Georgia O’Keeffe maintained two homes in Northern New Mexico. Her summer house, twelve miles from Abiquiú, sits on 12 acres at the edge of a 21,000-acre property called Ghost Ranch. When O’Keeffe purchased the parcel in 1940, the greater Ghost Ranch operated as a dude ranch—a destination for visitors and tourists. Today, Ghost Ranch is a retreat center operated by the Presbyterian Church and still welcomes visitors. Though breathtakingly situated, O’Keeffe’s Ghost Ranch home was not suitable for her to live in year-round. O’Keeffe purchased a larger home, in the village of Abiquiú, for its well-irrigated garden and the comfort it offered in winter. While both houses are owned by the Georgia O’Keeffe Museum, only the Abiquiú Home and Studio is open for public tours.
The O’Keeffe Home and Studio reflects a blend of Native American and Spanish Colonial building styles, regional architectural traditions dating back centuries. The oldest rooms of the house were probably built in 1744. The house was expanded in the 19th century into a pueblo-style adobe (mud brick) hacienda, with rows of rooms organized around a common open space, or plazuela.
It was one of the courtyard walls of the home that first attracted O’Keeffe. She recalled: “As I climbed and walked about in the ruin I found a patio with a very pretty well house and bucket to draw up water. It was a good-sized patio with a long wall with a door on one side. That wall with a door in it was something I had to have.”
The 5,000-square-foot compound was in ruins in 1945 when she purchased the home from the Catholic Church. For the next four years, O’Keeffe supervised its restoration, which was carried out by her friend, Maria Chabot. O’Keeffe finally made Abiquiú her permanent home in 1949. The special character of the property, a quiet sanctuary from which to draw inspiration, perfectly suited O’Keeffe’s needs. O’Keeffe lived in the home from 1949 until 1984. She died in Santa Fe on March 6, 1986, at the age of 98. The O’Keeffe Home and Studio was designated a National Historic Landmark in 1998 and is now part of the Georgia O’Keeffe Museum.
O’Keeffe’s home in Abiquiú reveals her commitment to design and the aesthetics of her surroundings. Traditional adobe structures are found throughout the region, but O’Keeffe made her home distinctly modern, with abundant natural light, updated amenities, and midcentury modern furniture. She also decorated it with rocks and bones from her collection, and cultivated a garden that provided food for her and her guests. O’Keeffe may be one of the region’s most famous residents, but she is just a part of the larger human story that has unfolded in this valley over thousands of years. Rich in history, this land continues to fascinate and inspire all who see it.
www.okeeffemuseum.org/exhibitions/artful-living-okeeffe-a...
Nestled in the desert landscape of Abiquiú sits an unlikely mid-century–modern masterpiece. With a discerning eye for design, Georgia O’Keeffe transformed a traditional adobe home into an artist’s sanctuary. With its large picture windows, skylights, open concept layout, and modern furnishings, O’Keeffe’s home circumvents regional norms—yet still includes original architectural features and traditional adobe treatments. Despite being miles from design hubs like New York or Chicago, O’Keeffe’s connections with furniture and textile designers, coupled with her keen sense of style, resulted in a dynamic space where O’Keeffe could experiment with color, pattern, and texture.
publications.okeeffemuseum.org/artful-living/
O’Keeffe’s home was meticulously crafted to foster inspiration, contemplation, and artistic innovation. The Home & Studio, where she resided from 1949 to 1984, is a testament to the connection between art and design. In this exhibition, we invite you to learn about the objects O’Keeffe selected to make Abiquiú the home that continues to inspire designers and design enthusiasts to this day.
When O’Keeffe purchased the property in 1945, the home had been vacant for many years. Without proper maintenance, most of the adobe walls had collapsed and the ceilings caved in due to exposure to snow and rain. While this meant the state of the buildings resembled ruins, it also allowed O’Keeffe to exercise creative freedom when it came to the reconstruction.
In the wake of her husband Alfred Stieglitz’s death in 1946, O’Keeffe returned to New York City to settle his estate. Not wanting to wait on the reconstruction of the home, she hired her trusted friend, Maria Chabot, to be the foreman and project manager. O’Keeffe and Chabot wrote hundreds of letters back and forth, discussing the layout, materials, cost and everything else that went into the project. Through this correspondence, it is evident that Maria Chabot equally contributed to the overall design of Georgia O’Keeffe’s Abiquiú home. Many key features were initially suggested by her, such as rebuilding the old carriage house and placing O’Keeffe’s painting studio and bedroom there.
With its large picture windows, skylights, and open layout, O’Keeffe’s home circumvents regional norms while still retaining much of the original architectural features and traditional adobe treatments. This layered quality ascribes the home with a unique aesthetic and transformed it into the perfect setting for O’Keeffe to explore interior design.
Visitors travelling to the O’Keeffe Home & Studio today will find it set up how the artist left it in 1984 when she moved to Santa Fe for the last two years of her life. But over the four decades she spent in the home, O’Keeffe continuously moved furniture around, changed décor, and even made physical changes to the house, such as creating adobe mounds around her coffee table for seating only to have them removed when she became bored with them, replacing them with velvet floor cushions.
Despite her being miles from design hubs in New York or Chicago, O’Keeffe’s connections with furniture and textile designers, coupled with her keen sense of style, resulted in a dynamic space in which she could experiment with color, pattern, and texture. As a modernist artist, it is no surprise that O’Keeffe embraced and even preferred midcentury modernism – a movement defined by experimentation with materials and the simplification of objects to their essential forms.
In Artful Living: O’Keeffe & Modern Design, we invite you to learn about O’Keeffe’s mid-century–modern home, which continues to inspire designers and design enthusiasts to this day.
www.youtube.com/watch?v=ccoBJU6Q9lU
....
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o Plano Nacional sobre Mudança do Clima - impacto das mudanças climáticas nas calamidades atuais do Brasil e atuação do Estado na prevenção e adaptação às mudanças climáticas. Comissão ainda delibera requerimentos.
Mesa:
secretária Nacional de Mudança do Clima do Ministério do Meio Ambiente e Mudança do Clima (MMA), Ana Toni - em pronunciamento;
presidente da CMMC, deputada Socorro Neri (PP-AC).
Foto: Waldemir Barreto/Agência Senado
Ian Helliwell installation at Jeff Keen launch, Permanent Gallery, Bedford Place, Brighton, 28th February 2009.
Andries Stilte as a Standard
Bearer - 1640
Johannes Cornelisz Verspronck
Painter, Dutch, 1606/1609 - 1662
With great bravura, this fashionably clad member of the Haarlem civic guard stands with one arm akimbo, staring out at the viewer. His proud bearing, accented by the panache of his shimmering pink satin costume and plumed hat, attests to the great sense of confidence felt by the Dutch at the height of their "golden age."
Andries Stilte, whose family coat of arms decorates the upper corner of this painting, is presented as a standard bearer, or ensign, of the Kloveniers, one of Haarlem’s militia companies. During the Dutch revolt against Spanish rule in the late sixteenth and early seventeenth centuries, militia companies served as a civic guard. By 1640, when Verspronck made this portrait, civic guard companies had lost most of their military function. Officers were chosen from Haarlem’s wealthy burghers, who vied for these prestigious appointments. The blue standard and sash serve to identify Stilte’s company and rank, but the rest of his outfit displays his personal taste, his family’s wealth, and his status as a bachelor (Haarlem’s militia regulations stipulated that only unmarried men could serve as ensigns). Stilte commissioned Verspronck to paint him wearing his sumptuous pink costume right before he resigned his rank to marry. As a married militia officer, Stilte would have worn an elegant black outfit.
Johannes Cornelisz Verspronck was one of the foremost portraitists in Haarlem during the mid-seventeenth century. Little is known about his artistic background, although he probably studied first with his artist-father, Cornelis Engelsz (c. 1575–1650). Verspronck may also have trained with Frans Hals (c. 1582/1583–1666). While many seventeenth-century Dutch artists, including Hals, portrayed Dutch militia companies, a life-size portrait of an individual ensign—such as Verspronck's striking likeness of Stilte—is exceedingly rare.
The scarcity of documents relating to the life of the portraitist Johannes Cornelisz Verspronck has made securing his date of birth difficult. Though it was long believed that he was born in Haarlem in 1597, recent archival research suggests a date of about a decade later, between 1606 and 1609. Theodorus Schrevelius, the only contemporary author to mention Verspronck, referred to him as Gerard Sprong, thereby contributing to the confusion surrounding the artist’s biography. Nonetheless, some facts about Verspronck’s life remain clear. He was the son of the Haarlem-born painter Cornelis Engelsz (c. 1575–1650), who had trained with Cornelisz van Haarlem, Cornelis and Mander I, Karel van. Verspronck probably received his first training from his father, though he may have spent a brief period of time in the studio of Hals, Frans. He became a member of the Saint Luke’s Guild in Haarlem in 1632, and shortly thereafter, in 1634, produced his first dated painting.
Verspronck never married and lived with his parents for most of his life until he bought a house on the Jansstraat in 1656, where he lived with his brother and sister. Verspronck became quite wealthy as a successful portraitist for Haarlem’s patrician families. He also painted group portraits for civic organizations. Even though Verspronck was a Catholic, he obtained commissions from Calvinist, as well as Catholic, patrons. The only portrait for which the price is known is that of the Catholic priest Augustijn Alsthenius Bloemert, Verspronck’s last known work, dated 1658, for which he received a payment of 60 guilders. Verspronck died in June 1662 and was buried on June 30 in Haarlem’s Saint Bavo Church.
________________________________
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...
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Flood at Port-Marly, 1872
Alfred Sisley
West Building, Main Floor — Gallery 82
In December 1872, Sisley traveled to Port-Marly, a village in the western suburbs of Paris. There he produced four paintings showing the flooding of the Seine River. At first glance, this scene looks peaceful. The waters are calm, reflecting the overcast sky. A pair of women seem to be chatting in front of the entrance to a wine merchant’s shop.
On closer inspection, we see small boats crossing flooded streets and trees emerging directly from the water. It is a surprisingly mundane portrayal of a climate disaster.
Flooding early in the spring of 1872 drew Sisley to Port–Marly, a village on the Seine near Louveciennes, the artist's home. The water here is calm and human activity is minimal. Rather than dramatic or picturesque incident, the artist's attention was engaged by purely visual effects of rain–laden clouds and water–covered streets. The tranquility of the painting and the directness and simplicity of Sisley's observation are qualities derived from Corot, whom Sisley had met in the 1860s.
The composition is traditional. The Restaurant à Saint Nicolas at the left and the erect pylon on the right and its reflection establish a stable foreground and frame an opening at the center toward a stand of trees and distant hillside. The artist's handling, however, distinguishes Flood at Port-Marly as an impressionist work. Painted quickly on the scene, probably in a single session, Sisley used muted tones of a wide spectrum of hues, applying them in a thin layer of supple brushstrokes which Sisley varied in response to individual components of the landscape. The distinctive nuanced tonality and animated surface of this painting are hallmarks of the best of Sisley's mature work.
Sisley painted the floods at Port–Marly again in 1876, echoing this 1872 composition in two virtually identical works. Such repetition was unusual for Sisley and suggests that he found the motif congenial and this painting successful.
________________________________
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...
.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) promove reunião para eleição do presidente, vice-presidente e relator do colegiado.
À bancada, em pronunciamento, deputado Saullo Vianna (União-AM).
Mesa:
presidente eventual da CMMC, senador Humberto Costa (PT-PE).
Bancada:
deputado Sidney Leite (PSD-AM);
deputada Socorro Neri (PP-AC);
deputado Dr. Remy Soares (PP-MA);
deputada Meire Serafim (União-AC);
deputado Nilto Tatto (PT-SP);
deputada Camila Jara (PT-MS);
deputada Célia Xakriabá (PSOL-MG);
senador Esperidião Amin (PP-SC);
senadora Tereza Cristina (PP-MS);
deputado Sergio Souza (MDB-PR) - em pronunciamento;
senador Zequinha Marinho (Podemos-PA);
senador Alessandro Vieira (MDB-SE);
senador Jaime Bagattoli (PL-RO);
deputado Saullo Vianna (União-AM).
Foto: Saulo Cruz/Agência Senado
Permanencia Estudiantil llevó a cabo del 25 – 29 de julio del presente año, en los
Campus Pance y Meléndez, y la Sede Compartir, la inducción para los nuevos
estudiantes de La Fundación Universitaria Católica Lumen Gentium, período 2016 - 2. El objetivo principal de la semana de inducción fue que los estudiantes que inician este proceso conozcan la Institución y todo lo que ella tiene para ofrecerles.
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública para debater sobre a “Procuradoria Especial da Mulher e a atuação do Poder Legislativo na prevenção e enfrentamento da violência contra as mulheres”. As parlamentares ainda apreciam requerimentos.
Mesa:
procuradora da Mulher da Câmara dos Deputados, deputada Soraya Santos (PL-RJ);
presidente da CMCVM e requerente desta audiência, senadora Augusta Brito (PT-CE);
secretária nacional de Enfrentamento à Violência contra Mulheres do Ministério das Mulheres, Denise Motta Dau, em pronunciamento.
Foto: Waldemir Barreto/Agência Senado
Hubert J. Charles, Ambassador, Permanent Representative of Dominica to the OAS
Date: September 10, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
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).