View allAll Photos Tagged permanent
You get permanent eyeliner through the healing process. Permanent makeup or eyeliner is also known as microblading, permanent lip liner, eyebrow tattoo etc. you get perfect eyeliner every hour of the day of Browbeatstudio. Browbeatstudio is best for permanent eyeliner healing time or a schedule. Call BrowBeatstudio today on 214 432 3077 to make your appointment for Permanent eyeliner healing time and visit www.browbeatstudio.com/permanent-eyeliner-healing-time/
2024 UN Permanent Forum on Indigenous Issues. Photo credit: UN DESA DISD/ Ines Belchior, Ronja Porho. United Nations, New York
Magnetic separator manufacturers, Magnetic separator manufacturers India, Magnetic roller separator, Magnetic Roll Separator Manufacturers , Magnetic drum separator manufacturers India, Magnetic equipments manufacturers, Magnetic equipments manufacturer in India, Magnetic Drum Pulley Manufacturer, Over band Magnetic Separator Manufacturers, Over band Magnetic Separator, Vibrating Screening Machine Manufacturer, Rare earth magnets manufacturers in India, All type of magnetic equipment, Industrial magnetic equipments, Permanent magnetic equipment, Permanent magnet Manufacturers
Adriaen van Ostade - 1646/1648
Frans Hals
Dutch, c. 1582/1583 - 1666
Frans Hals was the preeminent portrait painter in Haarlem, the most important artistic center of Holland in the early part of the seventeenth century. He was famous for his uncanny ability to portray his subjects with relatively few bold brushstrokes, and often used informal poses to enliven his portraits.
Hals depicted his colleague the artist Adriaen van Ostade (1610–1685) as a refined gentleman wearing fashionable apparel, including the gloves that were an essential accessory of the social elite in this period. Van Ostade holds his right glove in his left hand, and his casual pose adds to the lifelike character of the portrait, further reinforced by the extraordinary abstract brushwork.
Prior to entering Haarlem’s Saint Luke’s Guild in 1634, Van Ostade had probably been Hals’ pupil. He specialized in scenes of peasant life, such as The Cottage Dooryard in the National Gallery’s collection. In 1647 Van Ostade was elected to serve as one of the headmen of the Saint Luke’s Guild, so he may have commissioned Hals to paint his portrait to commemorate this high point in his career.
Son of Franchoys Hals, a cloth worker from Mechelen, and Adriana van Geertenryck of Antwerp, Frans Hals was probably born in Antwerp in about 1582 or 1583. Sometime after the fall of Antwerp to the Spanish in August 1585, the family moved to Haarlem, in the northern Netherlands. Dirck Hals (1591–1656) followed in his brother Frans’ footsteps and became a painter; a third brother, Joost (died before October 16, 1626), apparently worked as an artist as well, but no works by him have been identified.
According to the posthumous second edition of Karel van Mander’s Het schilder-boeck (1618), Frans Hals had studied painting with the author (1548–1606); if so, this training probably occurred before 1603, when Van Mander left Haarlem for a country estate outside the city to finish writing his book. Van Mander’s teachings, however, did not appear to have much effect on Hals, who rarely depicted the type of subjects that Het schilder-boeck urged young artists to choose and whose style bears no obvious resemblance to that of his mentor. Nonetheless, it should also be noted that extremely little is known of Hals’ activities prior to his late twenties, and it is conceivable that as-yet unearthed or unidentified juvenilia will necessitate a reappraisal of his early career.
Hals is first documented as an artist in 1610, when he entered Haarlem’s Saint Luke’s Guild. His wife, Annetje Harmansdr, died in June 1615, leaving him with two young children, one of whom, Harmen (1611–1669), became a painter. The next year Hals made his only recorded trip outside Holland, traveling to Antwerp, where he stayed from August until November. He remarried in 1617 to Lysbeth Reynier, a feisty woman who was reprimanded by the city authorities on several occasions for brawling. She bore the artist at least eight children—one baptized nine days after the wedding—including the artists Frans the Younger (1618–1669), Reynier (1627–1671), and Nicolaes (1628–1686). Another artist named Jan or Johannes (active c. 1635–1650) was also probably a child of this marriage, and a daughter, Adriaentje, married the Haarlem genre and still-life painter Pieter Gerritsz van Roestraten (1629/1630–1700), bringing the total number of artists in the family to about a dozen, if one includes Hals’ brothers and nephews.
Although Hals specialized in portraiture, he also painted genre scenes and images of the four evangelists. In his early maturity, from 1616 to 1625, he was associated with a Haarlem rederijkerskamer (rhetoricians’ chamber) called De Wijngaertranken (the Grapevines). Appreciation of his painting skills, to which a number of important group portrait commissions testify, was documented as early as 1628, when Samuel Ampzing’s general description of the city of Haarlem included a passage praising Hals’ ability to capture the spirit of his portrait sitters. Despite this recognition, Hals was continually plagued by financial difficulties. Even during the 1630s, when his services as a portraitist seem to have been in the greatest demand, he is known to have been sued by his butcher, his baker, and his shoemaker in pursuit of unpaid debts. In 1654 he paid a debt to a baker by surrendering his household goods and several paintings, and from 1662 until his death he received relief from the burgomasters—an initial gift of 50 guilders, plus an annual allowance of 150 guilders per year, increased to 200 guilders in 1663.
Hals died in Haarlem on August 29, 1666, and was buried in the Church of Saint Bavo on September 1. His only documented pupils were his son-in-law Van Roestraeten and Vincent Laurensz van der Vinne (1628–1702). Houbraken states that Brouwer, Adriaen, Dirck van Delen (1604/1605–1671), Wouwerman, Philips, Ostade, Adriaen van, and Hals’ sons also trained in his studio. His style can be felt in the work of his brother Dirck and that of Leyster, Judith and her husband, Jan Miense Molenaer (c. 1610–1668). Despite his artistic success, Hals was almost totally forgotten after his death. It was not until the 1860s and the rise of realism and then impressionism in the late nineteenth century that the vigorous and free brushwork that brought his portraits of Dutch burghers so vividly to life was once again appreciated by critics, collectors, and contemporary artists.
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião instalação da Comissão e eleição de presidente e vice.
São eleitos presidente e vice-presidente, respectivamente, o deputado Túlio Gadêlha e o senador Paulo Paim, e designada relatora a senadora Mara Gabrilli.
À mesa, em pronunciamento, presidente da CMMIR, deputado Túlio Gadelha (Rede-PE).
Foto: Roque de Sá/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência pública interativa para debater o Projeto de Lei nº 4842/2023, que altera a Lei nº 14.448, de 9 de setembro de 2022, para “instituir campanha permanente de conscientização em arenas esportivas e respectivas transmissões dos eventos para a prevenção e o enfrentamento da violência contra a mulher”.
À mesa, vice-presidente da CMCVM, deputada Elcione Barbalho (MDB-PA).
Foto: Waldemir Barreto/Agência Senado
This bridge was once used by the Chicago Tribune, however is out of commission and is permanently raised.
Sign from the largest and most polite political rally held in Madison, Wisconsin in at least this decade.
I am a Canadian Permanent Resident (not a citizen yet), so for travelling to Europe I need to apply for the Schengen Visa. One thing that is confusing me is for applying for the visa I need to show a "Flight Itinerary or booking". Does anyone know how to get a "itinerary or booking" without purchasing the actual ticket? It doesn't make sense that someone purchases the ticket just to show it at the visa office and then if his visa is rejected he loses the price of the ticket. Any ideas? via /r/travel ift.tt/2UaAltw
Antoine Michon, Interim Observer of France to the OAS
Date: December 8, 2023
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Permanenter IVV-Wanderweg Nr. PW 246 FR_Fürth-Oberfürberg_2. Stadtwaldwanderung um den Felsenkeller. Streckenlänge 19 KM, erwandert am 16 August 2014.
Permanent IVV Trail No. PW 246 FR_Fürth-Oberfürberg.
Name of the trail: 2. Stadtwaldwanderung rund um den Felsenkeller.
Length of trail: 19 KM, walked on 16 th of August 2014.
Fürth-Oberfürberg is located in Franconia, a region of Bavaria - in the vicinity of Nuremburg
The orange cone was put here to mark a dangerous pothole, so the group doing asphalt filling decided to make it a permanent warning...?
The Dinner Horn (Blowing the Horn
at Seaside) - 1870
Winslow Homer
American, 1836 - 1910
Standing in the brilliant sunlight of midday, a young woman blows a metal horn to summon the farmhands in the nearby field to their noontime meal. Her feet rest at the end of a well-trod path, suggesting the repetitive nature of this task. A strong gust of wind blows across the foreground from the right, evidenced by Winslow Homer’s skillful depiction of the young woman’s raised, twisting skirt and floating dress strings. Only a narrow corner of the wooden structure to her left can be seen, revealing weathered wooden siding and the edge of a window frame. Thin vines studded with leaves and thorns climb the wall. Below, two potted plants and an overturned metal milk jug form a small still life.
Downhill from the wind-swept figure, a cluster of chickens and a cow are visible in the verdant middle ground. Further in the distance this grassy stretch turns golden brown, suggesting a field of harvested hay. On the far right edge of the field sits a domed haystack. A handful of men in bright shirts are at work nearby, one of whom maneuvers what appears to be a horse-drawn hay mower.
The Dinner Horn is the first in a series of works by Homer from the early 1870s that feature the trumpeting figure of a young woman. It is also an early example of the artist’s exploration of farming subjects. The work was first exhibited in 1871 under the title Blowing the Horn at Seaside.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 301-305, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
________________________________
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...
.
Ordenaciones diáconos permanentes en la catedral de la Almudena
Fotos de Juan Carlos Martin / Archimadrid
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública para debater o estágio atual de implementação do Programa Nacional da Triagem Neonatal de acordo com a Lei nº 14.154, de 26 de maio de 2021.
Mesa:
diretor de Negócios da Empresa Brasileira de Correios e Telégrafos, Maurício Fortes Garcia Lorenzo;
superintendente-geral do Instituto Jô Clemente, Daniela Machado Mendes;
vice-presidente da CASRARAS, senadora Damares Alves (Republicanos-DF);
presidente da Associação Brasileira de Amiotrofia Espinhal (Abrame), Fátima Ielda Oliveira Braga Vaz
médica geneticista da Secretaria de Estado de Saúde do Distrito Federal (SES/DF), Maria Teresa Alves da Silva Rosa.
Foto: Jefferson Rudy/Agência Senado
0515-74-24
A Permanent Post
By 1863 the Drewry’s Bluff post expanded into a military city. Hundreds of Confederate soldiers, sailors, and Marines camped on these grounds. The Confederate States Naval Academy held classes in buildings and aboard the side-wheeled steamer CSS Patrick Henry, anchored in the James River. A wide variety of supporting structures were built that included barracks, a chapel, a post office, a hotel, and even a Masonic lodge. Steamships brought civilians down from Richmond nearly every day to picnic, socialize, and watch the sailors and Marines drill.
“This encampment resembles a pioneer village…one sees small log-houses with doors, windows, and fireplaces….”
Charles Girard, French envoy.
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública para debater o diagnóstico e o tratamento da hidrocefalia de pressão normal. A enfermidade consiste em dificuldade em andar, incontinência urinária e demência devido ao aumento do líquido que circunda o cérebro.
À mesa, presidente da CASRARAS, senadora Mara Gabrilli (PSD-SP), conduz audiência.
Foto: Marcos Oliveira/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza primeira reunião para a instalação dos trabalhos e eleição de presidente e vice-presidente.
À mesa, presidente eventual da CMCVM, deputada Elcione Barbalho (MDB-PA).
Foto: Jefferson Rudy/Agência Senado
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) promove audiência pública para debater a atuação dos ministérios do governo federal em temas de migração e refúgio.
No painel, coordenadora Nacional do Fórum Nacional de Conselhos e Comitês Estaduais para Refugiados, Apátridas e Migrantes (Fonacceram), Maria da Luz, em pronunciamento via videoconferência.
Mesa:
coordenador Nacional do Fórum Nacional de Conselhos e Comitês Estaduais para Refugiados, Apátridas e Migrantes (Fonacceram), Roberto Portela;
oficial de Proteção do Alto Comissariado das Nações Unidas para Refugiados (ACNUR); Silvia Sander;
representante do Conselho Estadual dos Direitos dos Refugiados, Migrantes e Apátridas do Paraná (Cerma-PR), Márcia Ponce;
relator da CMMIR, deputado Túlio Gadêlha (Rede-PE);
procurador do Município de Itajaí (SC), Jeancarlo Gorges;
assistente de Projetos da Organização Internacional para as Migrações (OIM) no Brasil, Fábio Andó Filho.
Foto: Marcos Oliveira/Agência Senado
United Nations Permanent Forum on Indigenous Issues 7th Session, UN Headquarters, New York, April 21 - May 2 2008
United Nations Permanent Forum on Indigenous Issues 7th Session, UN Headquarters, New York, April 21 - May 2 2008
Plenário do Senado Federal durante sessão deliberativa extraordinária. Ordem do dia.
Na pauta, deliberação de autoridades sabatinadas pelas comissões permanentes, e dos demais itens constantes da pauta publicada pela Secretaria-Geral da Mesa.
Senador Styvenson Valentim (Podemos-RN) conversa com senador Astronauta Marcos Pontes (PL-SP).
Foto: Saulo Cruz/Agência Senado