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Residences on Morrissey Boulevard, 25 Morrissey Boulevard, Dorchester
NOTICE OF INTENT (NOI) TEMPORARY CONSTRUCTION DEWATERING RESIDENCES AT MORRISSEY BOULEVARD 25 MORRISSEY BOULEVARD DORCHESTER, MASSACHUSETTS by Haley & Aldrich, Inc. Boston, Massachusetts on behalf of Qianlong Criterion Ventures LLC Waltham, Massachusetts for US Environmental Protection Agency Boston, Massachusetts File No. 40414-042 July 2014 Haley & Aldrich, Inc. 465 Medford St. Suite 2200 Boston, MA 02129 Tel: 617.886.7400 Fax: 617.886.7600 HaleyAldrich.com 22 July 2014 File No. 40414-042 US Environmental Protection Agency 5 Post Office Square, Suite 100 Mail Code OEP06-4 Boston, Massachusetts 02109-3912 Attention: Ms. Shelly Puleo Subject: Notice of Intent (NOI) Temporary Construction Dewatering 25 Morrissey Boulevard Dorchester, Massachusetts Dear Ms. Puleo: On behalf of our client, Qianlong Criterion Ventures LLC (Qianlong Criterion), and in accordance with the National Pollutant Discharge Elimination System (NPDES) Remediation General Permit (RGP) in Massachusetts, MAG910000, this letter submits a Notice of Intent (NOI) and the applicable documentation as required by the US Environmental Protection Agency (EPA) for temporary construction site dewatering under the RGP. Temporary dewatering is planned in support of the construction of the proposed Residences at Morrissey Boulevard in Dorchester, Massachusetts, as shown on Figure 1, Project Locus. We anticipate construction dewatering will be conducted, as necessary, during below grade excavation and planned construction. The site is bounded to the north by the JFK/UMass MBTA red line station, to the east by William T. Morrissey Boulevard, to the south by paved parking associated with Shaw’s Supermarket, beyond which lies the Shaw’s Supermarket, and to the west by MBTA railroad tracks and the elevated I-93 (Southeast Expressway). -
But Why: a Podcast for Curious Kids How Do
But Why: A Podcast for Curious Kids How Do You Make Paint? June 10, 2016 [00:00:00] Tell your parents now that you need this rock. Is going to do something cool with it. And it's worth it. [00:00:26] [Jane] I’m Jane Lindholm and this is But Why? A Podcast for Curious Lids from Vermont Public Radio. Every episode we take a question from you, our listeners, and we help find cool people to offer an answer for what's on your mind. [00:00:42] You can find all the instructions at butwhykids.org for how to record a question with an adult's help on a smartphone. We are getting some really incredible questions so keep them coming. Before we get started today, we're excited to announce a new sponsor. This episode of But Why? is supported by Seventh Generation asking “But why?”[00:01:03] for over 27 years. Why don't cleaning products have to list their ingredients on the label? Why are so many laundry detergents such crazy colors? Seventh Generation encourages kids of all ages to keep asking why. Learn more at seventhgeneration.com. OK, let's get to the show and hear today's questions. [00:01:27] [Addison] My name is Addison Bee. I am five years old and I live in Edmonds, Washington and I want to know about how we make paints. [00:01:39] [Jane] There are a lot of different ways that paint is made. If you're painting your house, you're probably using industrial paint that was made in a very big factory. -
Excerpted from Bernard Berenson and the Picture Trade
1 Bernard Berenson at Harvard College* Rachel Cohen When Bernard Berenson began his university studies, he was eighteen years old, and his family had been in the United States for eight years. The Berensons, who had been the Valvrojenskis when they left the village of Butrimonys in Lithuania, had settled in the West End of Boston. They lived near the North Station rail yard and the North End, which would soon see a great influx of Eastern European Jews. But the Berensons were among the early arrivals, their struggles were solitary, and they had not exactly prospered. Albert Berenson (fig. CC.I.1), the father of the family, worked as a tin peddler, and though he had tried for a while to run a small shop out of their house, that had failed, and by the time Berenson began college, his father had gone back to the long trudging rounds with his copper and tin pots. Berenson did his first college year at Boston University, but, an avid reader and already a lover of art and culture, he hoped for a wider field. It seems that he met Edward Warren (fig. CC.I.16), with whom he shared an interest in classical antiquities, and that Warren generously offered to pay the fees that had otherwise prevented Berenson from attempting to transfer to Harvard. To go to Harvard would, in later decades, be an ambition of many of the Jews of Boston, both the wealthier German and Central European Jews who were the first to come, and the poorer Jews, like the Berensons, who left the Pale of Settlement in the period of economic crisis and pogroms.1 But Berenson came before this; he was among a very small group of Jewish students, and one of the first of the Russian Jews, to go to Harvard. -
Stained Glass Conservation at the Isabella Stewart Gardner Museum
Article: Stained glass conservation at the Isabella Stewart Gardner Museum: Putting the pieces together Author(s): Valentine Talland and Barbara Mangum Source: Objects Specialty Group Postprints, Volume Four, 1996 Pages: 86-98 Compilers: Virginia Greene and John Griswold th © 1996 by The American Institute for Conservation of Historic & Artistic Works, 1156 15 Street NW, Suite 320, Washington, DC 20005. (202) 452-9545 www.conservation-us.org Under a licensing agreement, individual authors retain copyright to their work and extend publications rights to the American Institute for Conservation. Objects Specialty Group Postprints is published annually by the Objects Specialty Group (OSG) of the American Institute for Conservation of Historic & Artistic Works (AIC). A membership benefit of the Objects Specialty Group, Objects Specialty Group Postprints is mainly comprised of papers presented at OSG sessions at AIC Annual Meetings and is intended to inform and educate conservation-related disciplines. Papers presented in Objects Specialty Group Postprints, Volume Four, 1996 have been edited for clarity and content but have not undergone a formal process of peer review. This publication is primarily intended for the members of the Objects Specialty Group of the American Institute for Conservation of Historic & Artistic Works. Responsibility for the methods and materials described herein rests solely with the authors, whose articles should not be considered official statements of the OSG or the AIC. The OSG is an approved division of the AIC but does not necessarily represent the AIC policy or opinions. STAINED GLASS CONSERVATION AT THE ISABELLA STEWART GARDNER MUSEUM: PUTTING THE PIECES TOGETHER Valentine Talland and Barbara Mangum Introduction In the Spring of 1994 the Gardner Museum began the conservation of nine medieval and Renaissance stained glass windows in its permanent collection. -
Botticelli: Heroines + Heroes on View: February 14, 2019 – May 19, 2019
FOR IMMEDIATE RELEASE Botticelli: Heroines + Heroes On View: February 14, 2019 – May 19, 2019 Sandro Botticelli (Italian, 1444 or 1445-1510), The Tragedy of Lucretia, 1499-1500. Tempera and oil on panel, 83.8 x 176.8 cm (33 x 69 5/8 in.) Isabella Stewart Gardner Museum, Boston (P16e20) BOSTON, MA (October 2018) – For the forthcoming Botticelli: Heroines + Heroes exhibition in early 2019, the Isabella Stewart Gardner Museum will be the sole venue in the United States to reunite Renaissance master Sandro Botticelli’s The Story of Lucretia from the Gardner Museum collection with the painter’s Story of Virginia, on loan from Italy for the first time. This presentation explores Botticelli’s revolutionary narrative paintings and brings them into dialogue with contemporary responses. The exhibition opens Feb. 14, 2019 and runs through May 19, 2019. Painted around 1500, eight monumental works – including important loans from museums in Europe and the U.S. - demonstrate Botticelli’s extraordinary talent as a master storyteller. He reinvented ancient Roman and early Christian heroines and heroes as role models, transforming their stories of lust, betrayal, and violence into parables for a new era of political and religious turmoil. Considered one of the most renowned artists of the Renaissance, Botticelli (about 1445-1510) was sought after by popes, princes, and prelates for paintings to decorate Italian churches. His Medici-era madonnas elevated Botticelli to a household name in Gilded Age Boston. Yet the painter achieved iconic status through his secular paintings for domestic interiors – like the Primavera. All of the works in the Gardner’s exhibition originally filled the palaces of Florence, adorning patrician bedrooms with sophisticated modern spins on ancient tales. -
N.C. Minutes- 11/26/19
Jamaica Plain Neighborhood Council November 26, 2019 Minutes JPNC Attendance: Kevin Rainsford, Max Glikman, Michael Reiskind, Robin Cheung, Valerie Coimbra, Samantha Montano, Peg Preble, Carolyn Royce, Emily Tabor, Gert Thorn, Trevor Wissink-Adams, and Priscilla Yang. Elected at the meeting: Will Cohen. Other attendees: Dana Gonsalves, Sarah Freeman, Dorothy Farrell, Louise Robbins, Aidan Foley, Alex Grey, Lauren Grey, Jennifer Uhrhane, Michael Epp, Kayla Myros, Sagie Tvizer (JP Counts), Rachel Nagin (Office of City Councillor Annissa Essaibi-George), Justin McClarey (Office of City Councillor Matt O’Malley), Lauren Bennett (Jamaica Plain Gazette), and Richard Heath (Boston Bulletin). Meeting called to order at 7:07pm by Kevin Rainsford at Farnsworth House. 1. Introductions: Council members introduced themselves. Aides of elected officials and the press were introduced. 2. Approval of October minutes: Motion by Samantha Montano to approve the minutes from the October 22 meeting. Seconded by Trevor Wissink-Adams. Passed 9-0-3. The approval of the July and September minutes was tabled. 3. Announcements: - The Egleston Square Neighborhood Association, Egleston Square Main Street, and the Jamaica Plain Neighborhood Development Corporation (JP NDC) are hosting a Summit for a Safe & Healthy Egleston on Thursday, December 5 at 9:00am at Brookside Community Health Center, 3297 Washington Street. - The annual Tree Lightings will take place on Saturday, December 7. The Monument Tree Lighting will be at 2:30pm and the Tree Lighting at Hyde Square will take place at 1:45pm. - The Department of Conservation and Recreation (DCR) had a meeting on the Arborway Parkways Improvement Project last week on November 21. Comments can be made up to December 16. -
Hessisches Landesmuseum, Darmstadt
Botticelli Reimagined V&A Museum, 5 March – 3 July 2016 Lender Reference number: Hessisches Landesmuseum, Darmstadt (8767) Title: Birth of Venus Date of creation: 1868-9 Place of creation: Basel, Switzerland Artist/ Designer: Arnold Böcklin (1827-1901) Dimensions: 1355 x 790 mm Nationality of Artist: Swiss Materials/ medium: Oil on canvas Brief physical description (including identifying marks and inscriptions): Female figure, representing Venus, emerges from the foam of the sea. A veil held by two putti is gathered in the hand of the female figure to cover her from the waist down. Lender (name and address): Hessisches Landesmuseum Darmstadt Friedenspl. 1 64283 Darmstadt Germany Provenance: 1898 Maximilian Freiherr von Heyl, in Darmstadt; various owners; Sigmund Buchenau, Niendorf/Lubeck; 1938 Karl Haberstock, Berlin; ‘Führermuseum’, Linz; acquired by The Federal Republic of Germany; since 1968 on permanent loan to Hessisches Landesmuseum in Darmstadt Ownership between 1933-1945: Collection of Sigmund Buchenau; from 1938 in the collection of Karl Haberstock; the ‘Führermuseum’, Linz Art Gallery Object registered on Art Loss Register?: Not checked Image of Object: Lender Reference number: Hessisches Landesmuseum, Darmstadt (AE.1285) Title: The Devout Jews at Pentecost Date of creation: 1500s Place of creation: Italy Artist/ Designer: Sandro Botticelli (c.1445-1510) Dimensions: 231 x 365 mm Nationality of Artist: Italian (Florentine) Materials/ medium: Black chalk, pen and brown ink, brown wash with white gouache, on paper Brief physical description (including identifying marks and inscriptions): This drawing depicts eight figures (seven above and one below) gathered around a central door. It is believed to record the missing lower half of a painting titled Pentecost now in the collection of the Birmingham Museums Trust. -
Titian, the Rape of Europa, Isabella Stewart Gardner Museum, Boston
Titian, The Rape of Europa, Isabella Stewart Gardner Museum, Boston Titian, Danaë, Wellington Collection, Apsley House, London The National Gallery’s much anticipated exhibition Titian – Love, Desire, Death opened on Monday, 16 March and I was lucky enough to see it the following day. It closed on the Wednesday of that week, together with the Gallery’s permanent collection, due to the Coronavirus crisis. A remarkable display, the most ravishing small-scale exhibition I have ever seen, the official closing date is 15 June, so if the Gallery reopens before then, please try to see it. The exhibition is due to continue at three of the other four art galleries whose generous loans have made this ground breaking art historical event possible: Edinburgh’s Scottish National Gallery, 11 July – 27 September; Madrid’s Prado Mueum, 20 October – 10 January; and Boston’s Isabella Stewart Gardner Museum, 11 February – 9 May next year. So, should we not be able to feast our eyes on these spectacular works in London, we must hope for the opportunity elsewhere. The catalogue for the London, Edinburgh and Boston versions of the exhibition, also titled Titian – Love, Desire, Death is, given the closure of normal booksellers, widely available via Amazon or similar web suppliers: the ISBN number is 978 1 8570 9655 2 and costs £25. The Prado will publish a separate catalogue. As you may know, we have a Study Day in connection with the exhibition scheduled for 13 May and we very much hope that this may still be possible? Meanwhile, by way of anticipation I have written this short review of the exhibition, which I hope you will find of interest? 2 Titian, Venus and Adonis, Prado Museum, Madrid The exhibition represents a series of amazing ‘firsts’. -
“Henry James and American Painting” Exhibition Explores Novelist’S Connection to Visual Art and Isabella Stewart Gardner on View: Oct
FOR IMMEDIATE RELEASE “Henry James and American Painting” exhibition explores novelist’s connection to visual art and Isabella Stewart Gardner On View: Oct. 19 to Jan. 21, 2018 BOSTON, MA (July 2017) – This fall, Henry James and American Painting, an exhibition that is the first to explore the relationship between James’ literary works and the visual arts, opens at the Isabella Stewart Gardner Museum in Boston. On view from Oct. 19 to Jan. 21, 2018, it offers a fresh perspective on the master novelist and the significance of his friendships with American artists John La Farge, John Singer Sargent, and James McNeill Whistler, and close friend and esteemed arts patron, Isabella Stewart Gardner. Originating this summer at the Morgan Library and Museum, the exhibition includes a rich selection of more than 50 oil paintings, drawings, watercolors, photographs, manuscripts, letters, and printed books from 24 museums and private collections in the US, Great Britain, and Ireland. The Gardner Museum will also pay special attention to James’s enduring relationship with Gardner and their circle of mutual friends through archival objects and correspondence drawn from the Museum collection. “Isabella Stewart Gardner’s bold vision for the Museum as an artistic incubator where all disciplines of art inform and inspire each other—from visual art to dance, literature, music, and the spoken word – is as relevant as ever in today’s fluid, multi-faceted culture,” said Peggy Fogelman, the Museum’s Norma Jean Calderwood Director. "In many ways, it all began in those grand salons with Gardner, James, Sargent, and Whistler.” James, who had a distinctive, almost painterly style of writing, is best known for his books, Portrait of a Lady (1880), Washington Square (1880), The Wings of a Dove (1902), and The Ambassadors (1903). -
ISGM Visitor MAP Final.Pdf
Hours Open daily from 11am to 5pm Thursday until 9pm; closed Tuesday MAP Tips for Enjoying Your Visit AUDIO GUIDES Audio Guide devices are available for rent at the admission desk for $5, or access for free on your own device via gardnermuseum.org/audioguide. DINING + SHOPPING Café G and Gift at the Gardner are open during Museum hours. Café G stops seating one hour prior to Museum closing. TOURS + TALKS Free talks and tours take place nearly every day. Stop by the admission desk for times and locations. While You’re Here Our collection is displayed in an accessible fashion. Please help us protect the works of art and the building by not touching. Low light levels in the historic galleries help protect works of art from damage and maintain the interplay of light and shadow that has always been part of the Gardner experience. Non-flash photography and video recording are permitted throughout the Museum. Please be considerate of others when taking photos. The use of tripods, monopods, and selfie sticks is not permitted. All large bags, backpacks, and umbrellas must be checked at the coat check, or visitors may use our self-service lockers, free of charge. Become a Member Join today and enjoy unlimited free Museum admission for one year, special member prices, advance notice of concerts and lectures, and a 10% discount at Gift at the Gardner and Café G. Become a member at the admissions desk, online at gardnermuseum.org, or call the Membership Office at 617 566 5643. For all other information please visit gardnermuseum.org 2 018 -–19 Welcome to the Isabella Stewart Gardner Museum! You are about to experience a museum that is unlike any other. -
Against Ruskin
AGAINST RUSKIN Joseph and Elizabeth Pennell’s recasting of Venice [Received August 28th 2020; accepted March 1st 2021 – DOI: 10.21463/shima.116] William Bainbridge University of Hertfordshire, UK <[email protected]> ABSTRACT: The images of Venice by Philadelphian Joseph Pennell (1857-1926) have never really escaped from James McNeill Whistler’s long shadow. His etchings, drawings, pastels, and lithographs all show the influence of the master. Together with his wife, Elizabeth Robins Pennell (1855-1936), he would publish a two-volume biography of his friend (1908). Their allegiance to Whistler and the Barbaro Circle brought the Pennells to endorse a new image of Venice away from the hegemonic cult of Ruskin pervasive in tourist and travel books about the city. This article seeks to reassess the contribution of both Pennells to this group of erudite intellectuals and reconsider their promotion of a more truthful and intimate representation of Venice beyond the mass of tourists and polished marble façades. Its special focus is on the Pennells’ – Elizabeth’s in particular – antagonistic relationship with Ruskin, whose iconic The Stones of Venice had mourned a city forever lost to tourists, over- restoration, and the onslaught of the railroad. KEYWORDS: Joseph Pennell, Elizabeth Pennell, John Ruskin, James McNeill Whistler, John Singer Sargent Introduction Ruskin’s The Stones of Venice (1851-1853) classically formulates a strong argument against the destruction wrought upon the aesthetic and environmental integrity of the maritime city in the 19th Century. Chief among Ruskin’s concerns were those damaging forces linked to the onslaught of mass tourism and the railroad.1 While promoting Venice as a tourist destination in its own right, however, Ruskin also argued that it was precisely tourism that was responsible for the city’s demise (Hanley, 2010). -
REAL ESTATE Mildred Hailey Unity Day, Pages 6 + 7 Vol
MAXFIELD & COMPANY (617) 293-8003 REAL ESTATE MILDRED HAILEY UNITY DAY, PAGES 6 + 7 Vol. 28 No. 11 24 Pages • Free Delivery BOOK YOUR 25 Cents at Stores Jamaica Plain POST IT Call Your Advertising Rep Printed on (617)524-7662 Recycled Paper AZETTE 617-524-2626 • WWWG.JAMAICAPLAINGAZETTE.COM JULY 12, 2019 CIRCULATION 16,000 CATCH AND RELEASE WITH THE BOSTON POLICE BHA Admin. McGonagle to retire this month Confident that Mildred Hailey redevelopment will happen without him BY SETH DANIEL Boston public housing develop- ments and shared a unique bond Boston Housing Authority – rather than the animosity some (BHA) Administrator Bill Mc- directors have - with residents Gonagle announced this week in Jamaica Plain and all over he will retire – or in his terms, Boston. ‘transition’ – from his long-time “That’s one thing I am partic- post at the BHA, and he will ularly proud of in my career,” he do so with absolute confidence said. “Having grown up in public that the redevelopment efforts of housing, I think that has giv- properties like the Mildred Hai- en me a unique perspective and ley Apartments in JP will move allowed me to develop personal forward without him at the helm. relationships with our residents. Superintendent Nora Baston, Bass Pro Rep., Commissioner William Gross, Bass Pro rep., “I’m not using the word re- I have the capacity to empathize, Deputy Superintendent James Chin, Sgt. Mike Aziz, Sgt. John Dougherty during the annual tirement,” he joked on Tuesday, not sympathize, with the…chal- Boston Police Department Kids’ Fishing Derby on June 22 at Jamaica Pond.