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Echan La Culpa a Las Lluvias De Lo Caras Que Están Las Frutas
PREMIO NACIONALDOMINGO DE PERIODISMO 1982 / 1989 / 1990 EL PERIÓDICO DEL PUEBLO ORIENTAL PUERTO LA CRUZ, Do m i ng o 27 de mayo de 2012 WW W.ELTIEMPO.COM.VE AÑO LII - Nº 2 0. 14 5 PRECIO Bs 4,00 DE P O RT E S CO N S U M O > Vendedores dicen que el mal estado de las vías contribuye al encarecimiento de productos Echan la culpa a las lluvias de lo caras El Marinos de 1991 dio inicio a la devoción que están las frutas de la fanaticada La lechosa, las naranjas y la guayaba son los rubros frutales que más han aumentado de precio en las últimas semanas. Los expendedores ubicados en el mercado municipal de Sotillo y en sus orient al +36, 37 alrededores aducen que pierden con algunos de ellos, como el melón, porque se dañan con rapidez. DRENAJES MEDIOS El Indepabis asegura que velará porque los proveedores no abusen >> 3 Por un tiempo más Hace cinco años Sotillo padecerá entró Tves y salió las consecuencias Rctv de la señal NI EL SÁBADO SE SALVAN de las lluvias del canal 2 +8 ,9 +1 6,1 7 EN CU E N T RO MUNDO Un exrehén está bajo sospecha por su presunta co l a b o ra c i ó n con las Farc +20 Niños de Anaco SALU D t u v i e ro n Clínicas plantean una jornada reanudar diálogo de pintura sobre costos con Caballito de sus servicios +30 +5 Una gran cola, de horas, se formó ayer en la vía sentido Barcelona-Puerto La Cruz, que no sólo impidió el acceso en esa dirección sino también hacia el hospital Luis Razetti. -
Regional Oral History Off Ice University of California the Bancroft Library Berkeley, California
Regional Oral History Off ice University of California The Bancroft Library Berkeley, California Richard B. Gump COMPOSER, ARTIST, AND PRESIDENT OF GUMP'S, SAN FRANCISCO An Interview Conducted by Suzanne B. Riess in 1987 Copyright @ 1989 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West,and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. All uses of this manuscript are covered by a legal agreement between the University of California and Richard B. Gump dated 7 March 1988. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
The Influence of Major Cities Architecture on Form of Krakow Town Houses from the Turn of the 20 Th Century
International Journal of Arts & Sciences, CD-ROM. ISSN: 1944-6934 :: 08(01):305–315 (2015) THE INFLUENCE OF MAJOR CITIES ARCHITECTURE ON FORM OF KRAKOW TOWN HOUSES FROM THE TURN OF THE 20 TH CENTURY Beata Makowska Krakow University of Technology, Poland Krakow town houses dating from the turn of the 20 th century combine a local tradition with tendencies popularized in major European cities ( i.a. Vienna, Paris, Berlin). They present stylistic diversity and individualization of the arrangement of their facades. Many of town houses were apparently influenced, among others, by the then important Vienna school. The decorations combine both the typical geometrical motifs of the Wiener Secession and plant motifs that were usually limited to clearly separated spaces. The influence of the Wiener Secession can be seen in geometrised forms, especially in the motif of a circle with three vertical strips, where the middle strip was often the longest one. In many Krakow structures the impact of Wagner’s works is visible – this refers, among others, to the method of arrangement of decorations on the fa çade (the “floating” façade), in the selection of forms, such as aluminium pins (dots), geometrical divisions (checks), the attic consisting of the simple sectional form supplemented by an iron guard-rail fixed on bricked brackets over the eaves, the window joinery with square divisions (the Quadrastil promoted by the Wiener Werkstätte ), borders of main façade fields, the graphic treatment of bars between windows, or the introduction of inscriptions on façades that are used not only because of their symbolic meaning, but also due to the value of their composition and decorations. -
Impact Melt Emplacement on Mercury
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-24-2018 2:00 PM Impact Melt Emplacement on Mercury Jeffrey Daniels The University of Western Ontario Supervisor Neish, Catherine D. The University of Western Ontario Graduate Program in Geology A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Science © Jeffrey Daniels 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Geology Commons, Physical Processes Commons, and the The Sun and the Solar System Commons Recommended Citation Daniels, Jeffrey, "Impact Melt Emplacement on Mercury" (2018). Electronic Thesis and Dissertation Repository. 5657. https://ir.lib.uwo.ca/etd/5657 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Impact cratering is an abrupt, spectacular process that occurs on any world with a solid surface. On Earth, these craters are easily eroded or destroyed through endogenic processes. The Moon and Mercury, however, lack a significant atmosphere, meaning craters on these worlds remain intact longer, geologically. In this thesis, remote-sensing techniques were used to investigate impact melt emplacement about Mercury’s fresh, complex craters. For complex lunar craters, impact melt is preferentially ejected from the lowest rim elevation, implying topographic control. On Venus, impact melt is preferentially ejected downrange from the impact site, implying impactor-direction control. Mercury, despite its heavily-cratered surface, trends more like Venus than like the Moon. -
WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 As a Masterpiece of Late Gothic Architecture
WHAT Architect WHERE Notes Arrondissement 1: Louvre Built in 1632 as a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also Church of Saint 2 Impasse Saint- chose the sanctuary as the location for his mother’s funeral. Among ** Unknown Eustace Eustache those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. Amazing façade. Mon-Fri (9.30am-7pm), Sat-Sun (9am-7pm) Japanese architect Tadao Ando has revealed his plans to convert Paris' Bourse de Commerce building into a museum that will host one of the world's largest contemporary art collections. Ando was commissioned to create the gallery within the heritage-listed building by French Bourse de Commerce ***** Tadao Ando businessman François Pinault, who will use the space to host his / Collection Pinault collection of contemporary artworks known as the Pinault Collection. A new 300-seat auditorium and foyer will be set beneath the main gallery. The entire cylinder will be encased by nine-metre-tall concrete walls and will span 30 metres in diameter. Opening soon The Jardin du Palais Royal is a perfect spot to sit, contemplate and picnic between boxed hedges, or shop in the trio of beautiful arcades that frame the garden: the Galerie de Valois (east), Galerie de Montpensier (west) and Galerie Beaujolais (north). However, it's the southern end of the complex, polka-dotted with sculptor Daniel Buren's Domaine National du ***** 8 Rue de Montpensier 260 black-and-white striped columns, that has become the garden's Palais-Royal signature feature. -
Jules Lavirotte (1864-1929) Ou L'art Nouveau Symboliste
Les Cahiers de la recherche architecturale urbaine et paysagère Actualités de la recherche | 2021 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Article Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat Édition électronique URL : https://journals.openedition.org/craup/6556 DOI : 10.4000/craup.6556 ISSN : 2606-7498 Éditeur Ministère de la Culture Référence électronique Bruno Montamat, « Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste », Les Cahiers de la recherche architecturale urbaine et paysagère [En ligne], Actualités de la recherche, mis en ligne le 23 mars 2021, consulté le 06 juillet 2021. URL : http://journals.openedition.org/craup/6556 ; DOI : https:// doi.org/10.4000/craup.6556 Ce document a été généré automatiquement le 6 juillet 2021. Les Cahiers de la recherche architecturale, urbaine et paysagère sont mis à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale - Pas de Modification 3.0 France. Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste 1 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Article Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat « Tous demandent à voir la maison, et personne à voir Monsieur. » Jean de La Bruyère, « De la mode », Les Caractères, Paris, Garnier frères, 1876, p. 7. 1 Sans réactiver l’éternel conflit opposant Proust à Sainte-Beuve au sujet de la place du vécu de l’artiste dans la compréhension de son œuvre, force est de constater que lorsque le fonds d’agence d’un architecte a disparu, l’historien doit se tourner vers l’exercice de la biographie pour tenter d’appréhender au mieux ses intentions. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Institute of Fine Arts Alumni Newsletter, Number 55, Fall 2020
Number 55 – Fall 2020 NEWSLETTERAlumni PatriciaEichtnbaumKaretzky andZhangEr Neoclasicos rnE'-RTISTREINVENTiD,1~1-1= THEME""'lLC.IIEllMNICOLUCTION MoMA Ano M. Franco .. ..H .. •... 1 .1 e-i =~-:.~ CALLi RESPONSE Nyu THE INSTITUTE Published by the Alumni Association of II IOF FINE ARTS 1 Contents Letter from the Director In Memoriam ................. .10 The Year in Pictures: New Challenges, Renewed Commitments, Alumni at the Institute ..........16 and the Spirit of Community ........ .3 Iris Love, Trailblazing Archaeologist 10 Faculty Updates ...............17 Conversations with Alumni ....... .4 Leatrice Mendelsohn, Alumni Updates ...............22 The Best Way to Get Things Done: Expert on Italian Renaissance An Interview with Suzanne Deal Booth 4 Art Theory 11 Doctors of Philosophy Conferred in 2019-2020 .................34 The IFA as a Launching Pad for Seventy Nadia Tscherny, Years of Art-Historical Discovery: Expert in British Art 11 Master of Arts and An Interview with Jack Wasserman 6 Master of Science Dual-Degrees Dora Wiebenson, Conferred in 2019-2020 .........34 Zainab Bahrani Elected to the American Innovative, Infuential, and Academy of Arts and Sciences .... .8 Prolifc Architectural Historian 14 Masters Degrees Conferred in 2019-2020 .................34 Carolyn C Wilson Newmark, Noted Scholar of Venetian Art 15 Donors to the Institute, 2019-2020 .36 Institute of Fine Arts Alumni Association Offcers: Alumni Board Members: Walter S. Cook Lecture Susan Galassi, Co-Chair President Martha Dunkelman [email protected] and William Ambler [email protected] Katherine A. Schwab, Co-Chair [email protected] Matthew Israel [email protected] [email protected] Yvonne Elet Vice President Gabriella Perez Derek Moore Kathryn Calley Galitz [email protected] Debra Pincus [email protected] Debra Pincus Gertje Utley Treasurer [email protected] Newsletter Lisa Schermerhorn Rebecca Rushfeld Reva Wolf, Editor Lisa.Schermerhorn@ [email protected] [email protected] kressfoundation.org Katherine A. -
Optics, Aesthetics, Epistemology : the History of Photography Reconsidered
OPTICS, AESTHETICS, EPISTEMOLOGY: THE HISTORY OF PHOTOGRAPHY RECONSIDERED Peter Wollheim B.A., University of Rochester, 1970 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS (COWNICATION STUDIES) in the Department of Communication Studies @ Peter Wollheim 1977 SIMON FRASER UNIVERSITY November 1977 All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. Approval Name: Peter Wollheirn Degree: Master of Arts (Communication Studies) Title of Thesis: "Optics, Aesthetics, Epistemology: The History of Photography Reconsidered." Examining Committee: Chairperson: Thomas J. Mallinson J. C. Haqpr - Supervisor J. Zaslove E. Gibson EMrnal Examiner Associate Professor Department of Geography, Simon Fraser University Date Approved : November 29th.1977. PARTIAL COPYRTCHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis or dissertation (the title of which is shown below) to usere of the Simon Fraser University Library, and to marte parclai or singie copies only for. such users or in response to a request from the library of any other university, or other educational institution, on its 'own behalf or for one of its users. I further agree that permission for multiple copying of this thesis for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Title of Thesis/~issertation: "OPTICS AESTHETICS, EPISTEMOLOGY: THE HISTORY OF PHOTOGRAPHY RFXONS IDERED" Author : (signature) PETER WOLLHFIM (name) NQV: 23rd. 1977 (date) This thesis dfals with the status of "truthi' - spis+;mological, assthhetic, and psycholcgical - % r. -
Jules Lavirotte (1864-1929) Ou L'art Nouveau Symboliste
Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Bruno Montamat To cite this version: Bruno Montamat. Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste. Les Cahiers de la recherche architecturale, urbaine et paysagère, Ministère de la Culture, 2021. hal-03197719 HAL Id: hal-03197719 https://hal.archives-ouvertes.fr/hal-03197719 Submitted on 14 Apr 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Les Cahiers de la recherche architecturale urbaine et paysagère Actualités de la recherche | 2021 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat Édition électronique URL : http://journals.openedition.org/craup/6556 ISSN : 2606-7498 Éditeur Ministère de la Culture Ce document a été généré automatiquement le 23 mars 2021. Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste 1 Jules Lavirotte (1864-1929) ou l’Art nouveau symboliste Jules Lavirotte (1864-1929) or the Symbolist Art Nouveau Bruno Montamat « Tous demandent à voir la maison, et personne à voir Monsieur. » Jean de La Bruyère, « De la mode », Les Caractères, Paris, Garnier frères, 1876, p. 7. 1 Sans réactiver l’éternel conflit opposant Proust à Sainte-Beuve au sujet de la place du vécu de l’artiste dans la compréhension de son œuvre, force est de constater que lorsque le fonds d’agence d’un architecte a disparu, l’historien doit se tourner vers l’exercice de la biographie pour tenter d’appréhender au mieux ses intentions. -
L'école De Nancy L'art Nouveau 1900
Histoire de l’art L’école de NaNCY Géraldine L’arT NOUVEAU CREUSOT 1900 - 1915 carte de France avec nancy située Page 1 1/- DÉFINITION L’École de Nancy fait le lien entre les différents métiers d’art. Elle est aussi à l’origine de l’Art nouveau en France dont l’inspiration essentielle est dans les formes végétales : ginkgo, ombelle, berce du Caucase, nénuphar, chardon ou encore cucurbitacée ; et animales, comme les libellules. Images de ginko, ombelle, berce du caucase, nénuphar, chardon, libellule à montrer et ils dessinent Les métiers d’art : la verrerie, la ferronnerie, la cristallerie, l’acier, l’architecture, le vitrail, l’ébénisterie, le papier peint, la typographie, l’imprimerie, la reliure d’art, l’estampe, l’affiche publicitaire, le mobilier, pour mettre le beau dans les mains de tous et ainsi faire entrer l’art dans les foyers. Villa Les Glycines, Saurupt Histoire de l’art Objectifs Les fondateurs définissent l’École de Nancy comme une «sorte de syndicat des industriels Géraldine d’art et des artistes décorateurs, qui s’efforce de constituer en province, pour la défense et CREUSOT le développement des intérêts industriels, ouvriers et commerciaux du pays, des milieux d’enseignement et de culture favorables à l’épanouissement des industries d’art». Son but, tel qu’il est décrit à l’article 1 des statuts de l’association, est de «favoriser la renaissance Page 2 et le développement des métiers d’art en province». À sa création en date du 13 février 1901, l’association est dotée d’un bureau, composé d’un président, Émile Gallé, et de trois vice-présidents, Louis Majorelle, Antonin Daum et Eugène Vallin. -
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ART NOUVEAU AND THE RESISTANCE TO GERMANIZATION IN ALSACE-LORRAINE, CA. 1898-1914 Peter Clericuzio University of Pennsylvania Between August of 1870 and May of 1871, the French and the Germans fought each other in a conflict whose effects reverberated for the next fifty years. The Franco-Prussian War, sometimes known as the “war that split France and united Germany,”1 had its most long-lasting consequences in the region of Alsace-Lorraine (Fig. 1). Grudgingly handed over to the Germans by the French as one of the spoils of victory, Alsace-Lorraine became the focus of a complex cultural debate that continued at least until the end of World War II. Alsace-Lorraine was returned to France in 1919 (and—except for a brief re-annexation by the Nazis—has remained French territory ever since), but the legacy of its precarious geopolitical situation still can be seen today in the unique sets of laws, customs, and traditions that survive.2 In the decade and a half preceding World War I, the debate over the identity of Alsace- Lorraine and its ties to both France and Germany intensified with the appearance of the style known as Art Nouveau, particularly around the city of Nancy that was located barely thirty kilometres from the post-1871 border established by the Treaty of Frankfort. In Nancy, Art Nouveau became at once an emblem of defiance of the political reality that Alsace-Lorraine was now a German province and a rallying point for the hope that France might someday recapture these “lost provinces.” As the new rulers systematically began to physically and culturally rebuild Alsace-Lorraine after 1871 with a more recognizably German cultural character—bringing it in line with the rest of the Second Reich—many of the regionʼs residents resisted their efforts.