text:
January 17, 2020 | 2019 Was the Second Hottest Year on Record According to Both NASA & NOAA
January 17, 2020 | Plastic Surgeons Use Eye-Tracking Technology to Build a Better Breast
January 17, 2020 | Human-Caused Biodiversity Decline Isn't New – It Started Millions of Years Ago
January 17, 2020 | Spider-Man-Style Robotic Graspers Defy Gravity – Secret Is High-Speed Rotating Water Rings
January 17, 2020 | Neuron Discovered That Suppresses Eating May Lead to Effective Diet Drugs
Home Space News
Hubble Discovers Fast Evaporating Warm Neptune Exoplanet GJ 3470b
TOPICS:AstronomyHubble Space TelescopePlanetary SciencePopular
By Donna Weaver / Ray Villard, NASA December 13, 2018
This artist's illustration shows a giant cloud of hydrogen streaming off a warm, Neptune-sized planet just 97 light-years from Earth. The exoplanet is tiny compared to its star, a red dwarf named GJ 3470. The star's intense radiation is heating the hydrogen in the planet's upper atmosphere to a point where it escapes into space. The alien world is losing hydrogen at a rate 100 times faster than a previously observed warm Neptune whose atmosphere is also evaporating away. Credit: NASA, ESA and D. Player (STScI)
Fishermen would be puzzled if they netted only big and little fish, but few medium-sized fish. Astronomers likewise have been perplexed in conducting a census of star-hugging extrasolar planets. They have found hot Jupiter-sized planets and hot super-Earths (planets no more than 1.5 times Earth's diameter). These planets are scorching hot because they orbit very close to their star. But so-called "hot Neptunes," whose atmospheres are heated to more than 1,700 degrees Fahrenheit, have been much harder to find. In fact, only about a handful of hot Neptunes have been found so far.
In fact, most of the known Neptune-sized exoplanets are merely "warm," because they orbit farther away from their star than those in the region where astronomers would expect to find hot Neptunes. The mysterious hot-Neptune deficit suggests that such alien worlds are rare, or, they were plentiful at one time, but have since disappeared.
This graphic plots exoplanets based on their size and distance from their star. Each dot represents an exoplanet. Planets the size of Jupiter (located at the top of the graphic) and planets the size of Earth and so-called super-Earths (at the bottom) are found both close to and far from their star. But planets the size of Neptune (in the middle of the plot) are scarce close to their star. This so-called desert of hot Neptunes shows that such alien worlds are rare, or, they were plentiful at one time, but have since disappeared. The detection that GJ 3470b, a warm Neptune at the border of the desert, is fast losing its atmosphere suggests that hotter Neptunes may have eroded down to smaller, rocky super-Earths. Credits: NASA, ESA and A. Feild (STScI)
A few years ago astronomers using NASA's Hubble Space Telescope found that one of the warmest known Neptunes (GJ 436b) is losing its atmosphere. The planet isn't expected to evaporate away, but hotter Neptunes might not have been so lucky.
Now, astronomers have used Hubble to nab a second "very warm" Neptune (GJ 3470b) that is losing its atmosphere at a rate 100 times faster than that of GJ 436b. Both planets reside about 3.7 million miles from their star. That's one-tenth the distance between our solar system's innermost planet, Mercury, and the Sun.
"I think this is the first case where this is so dramatic in terms of planetary evolution," said lead researcher Vincent Bourrier of the University of Geneva in Sauverny, Switzerland. "It's one of the most extreme examples of a planet undergoing a major mass-loss over its lifetime. This sizable mass loss has major consequences for its evolution, and it impacts our understanding of the origin and fate of the population of exoplanets close to their stars."
As with the previously discovered evaporating planets, the star's intense radiation heats the atmosphere to a point where it escapes the planet's gravitational pull like an untethered hot air balloon. The escaping gas forms a giant cloud around the planet that dissipates into space. One reason why GJ 3470b may be evaporating faster than GJ 436b is that it is not as dense, so it is less able to gravitationally hang on to the heated atmosphere.
What's more, the star hosting GJ 3470b is only 2 billion years old, compared to the 4-billion- to 8-billion-year-old star that planet GJ 436b orbits. The younger star is more energetic, so it bombards the planet with more blistering radiation than GJ 436b receives. Both are red dwarf stars, which are smaller and longer-lived than our Sun.
Uncovering two evaporating warm Neptunes reinforces the idea that the hotter version of these distant worlds may be a class of transitory planet whose ultimate fate is to shrink down to the most common type of known exoplanet, mini-Neptunes—planets with heavy, hydrogen-dominated atmospheres that are larger than Earth but smaller than Neptune. Eventually, these planets may downsize even further to become super-Earths, more massive, rocky versions of Earth.
"The question has been, where have the hot Neptunes gone?" said Bourrier. "If we plot planetary size and distance from the star, there's a desert, a hole, in that distribution. That's been a puzzle. We don't really know how much the evaporation of the atmospheres played in forming this desert. But our Hubble observations, which show a large amount of mass loss from a warm Neptune at the edge of the desert, is a direct confirmation that atmospheric escape plays a major role in forming this desert."
The researchers used Hubble's Space Telescope Imaging Spectrograph to detect the ultraviolet-light signature of hydrogen in a huge cocoon surrounding the planet as it passed in front of its star. The intervening cocoon of hydrogen filters out some of the starlight. These results are interpreted as evidence of the planet's atmosphere bleeding off into space.
The team estimates that the planet has lost as much as 35 percent of its material over its lifetime, because it was probably losing mass at a faster rate when its red-dwarf star was younger and emitting even more radiation. If the planet continues to rapidly lose material, it will shrink down to a mini-Neptune in a few billion years.
Hydrogen probably isn't the only element evaporating away: it may be a tracer for other material streaming off into space. The researchers plan to use Hubble to hunt for elements heavier than hydrogen and helium that have hitched a ride with the hydrogen gas to escape the planet. "We think that the hydrogen gas could be dragging heavy elements such as carbon, which reside deeper in the atmosphere, upward and out into space," Bourrier said.
The observations are part of the Panchromatic Comparative Exoplanet Treasury (PanCET) survey, a Hubble program to look at 20 exoplanets, mostly hot Jupiters, in the first large-scale ultraviolet, visible and infrared comparative study of distant worlds.
Observing the evaporation of these two warm Neptunes is encouraging, but team members know they need to study more of them to confirm predictions. Unfortunately, there may be no other planets of this class residing close enough to Earth to observe. The problem is that hydrogen gas cannot be detected in warm Neptunes farther away than 150 light-years from Earth because it is obscured by interstellar gas. GJ 3470b resides 97 light-years away.
However, helium is another tracer for material escaping a warm Neptune's atmosphere. Astronomers could use Hubble and the upcoming NASA James Webb Space Telescope to search in infrared light for helium, because it is not blocked by interstellar material in space.
"Looking for helium could expand our survey range," Bourrier said. "Webb will have incredible sensitivity, so we would be able to detect helium escaping from smaller planets, such as mini-Neptunes."
The Hubble Space Telescope is a project of international cooperation between NASA and ESA (European Space Agency). NASA's Goddard Space Flight Center in Greenbelt, Maryland, manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Maryland, conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy in Washington, D.C.
Publication: V. Bourrier et al., "Hubble PanCET: an extended upper atmosphere of neutral hydrogen around the warm Neptune GJ 3470b," Planets and planetary systems, 2018; doi:10.1051/0004-6361/201833675
More on SciTechDaily
Old Hubble Images Reveal Neptune's "Lost" Moon
How to Distinguish Habitable Worlds Apart from Lifeless Gas Giants
Helium-Shrouded Planets May Be Common around Other Stars in Our Galaxy
Hubble Data Reveals a New Neptune Moon
"Behemoth" Bleeding Atmosphere Around a Warm Exoplanet Discovered by Hubble
Astronomers Discover Clear Skies and Water Vapor on Neptune-Size Exoplanet
Astronomers Conduct First Atmospheric Survey of Earth-Sized Planets Orbiting TRAPPIST-1
Hubble Uncovers Origin of Neptune's Smallest Moon Hippocamp
1 Comment on "Hubble Discovers Fast Evaporating Warm Neptune Exoplanet GJ 3470b"
william thopson | December 16, 2018 at 5:44 pm | Reply
that is so awsome
Email address is optional. If provided, your email will not be published or shared.
SciTechDaily: Home of the best science and technology news since 1998. Keep up with the latest scitech news via email or social media.
Astronomers Have Found the Secret Ingredient to the Universe's Brightest Explosions
Stars need to be in binary systems to create gamma-ray bursts, University of Warwick study finds Gamma-ray bursts are the Universe's brightest explosions, caused by…
The US Government Issued Sailors and Soldiers Shark Repellent That Didn't Work – Here's Why [Video]
'Chameleon Metals' Engineered to Change Surface Structure in Response to Heat
Benefits of Exercise Without Working Out? A Protein Called Sestrin Might Be the Answer
Meet 11 New NASA Astronauts Ready for Space Station, Moon, and Mars Missions
Revolutionary 'Robotic Blacksmithing' Technology Could Revive US Manufacturing
Astronomical Mystery Deepens After Fast Radio Burst Detected From Unknown Source
Artificial Intelligence System Learns the Fundamental Laws of Quantum Mechanics
Astronomy Astrophysics Biology Biomedical Engineering Black Hole Cancer Cassini-Huygens Mission Cell Biology Chandra X-ray Observatory Chemistry Climate Change Cosmology Disease Earth Science Engineering European Southern Observatory European Space Agency Evolution Evolutionary Biology Exoplanet Genetics Green Technology Harvard-Smithsonian Center for Astrophysics Harvard University Health Hubble Space Telescope Images JPL Mars Materials Science Max Planck Institute Medicine MIT Nanoscience Nanotechnology NASA Neurology Neuroscience Physics Planetary Science Popular Quantum Physics Saturn UCLA Yale University
Follow SciTechDaily
Medifast Promo Codes
SciTech News
Biology News
Chemistry News
Plastic Surgeons Use Eye-Tracking Technology to Build a Better Breast
Human-Caused Biodiversity Decline Isn't New – It Started Millions of Years Ago
Spider-Man-Style Robotic Graspers Defy Gravity – Secret Is High-Speed Rotating Water Rings
Neuron Discovered That Suppresses Eating May Lead to Effective Diet Drugs
Copyright © 1998 - 2020 SciTechDaily. All Rights Reserved.


MLB Embroidered Towel (Dimensions 16 x 22) (Select MLB Teams Available) - $12.95 - GolfersEdgeOnline.com - Best Golf Equipment On The Web!
Represent your team every time you hit the course with the Team Golf face and club towel. Specific designs woven into the front of this team-colored towel help you stand out as the number one fan on the links. Woven ribs and a textured design allow this cotton towel to either act as a club or face towel. A durable clip woven into the top helps you easily secure this towel secured to your bag or cart.
Towel measures approximately 16" x 25"
If you have any more questions about the MLB Embroidered Towel (Dimensions 16 x 22) (Select MLB Teams Available); do not see the model you are looking for; need custom options; or prefer to not purchase online, then please call us at (630) 656-1291.


text:
Già più volte segnalata da Roberto Longhi, la sua produzione artistica uscì dal modesto interesse riservatole sino ad allora dagli storici dell'arte, per merito di Giovanni Testori che, con l'esposizione torinese del 1959-60, contribuì in modo decisivo ad affermare la statura artistica del pittore di Alagna.

Vita e profilo artistico

Il viaggio a Roma e la lezione di Caravaggio

Nacque a Casa Giacomolo, frazione di Alagna, in Valsesia, da una famiglia di maestri costruttori e di scultori di origine Walser, i D'Enricis, antica famiglia alagnese (Heinrichs). Dal nome di suo padre Giovanni ("Anz", nel dialetto tedesco parlato ad Alagna) deriverebbe la deformazione patronimica ("d'Anz", ovvero "figlio di Giovanni") che, italializzandosi, porterebbe al soprannome "Tanzio", con il quale egli fu da tutti chiamato dopo il suo trasferimento a Varallo.

Giovanni era anche il nome di uno dei fratelli della numerosa famiglia: si tratta di quel Giovanni d'Enrico, architetto e scultore, che nel 1586 incominciò a operare nel grande cantiere del Sacro Monte di Varallo e che fu poi, per circa quarant'anni, artista di fiducia della fabbriceria del Monte e protagonista assoluto nella realizzazione degli apparati statuari.

L'apprendistato di Tanzio avvenne, con ogni probabilità, sotto l'attenzione di Giovanni, fratello più anziano di lui, e si può pensare che essa si sia svolta - com'era tradizione in Valsesia -  nel campo della scultura prima che in quello della pittura.
Le fonti documentali nulla ci dicono a proposito dell'apprendistato e dei pittorici esordi valsesiani di Tanzio, lasciando le porte aperte a diverse congetture.

Un dato certo è invece relativo al fatto che nel 1600 Tanzio, assieme all'altro fratello Melchiorre, partì alla volta di Roma. Una lettera di patronaggio del prorettore della Valsesia ne attesta il proposito di recarsi pellegrini al giubileo indetto da papa Clemente VIII e di vivere con i proventi della loro attività di pittori.

A Roma avvenne - esperienza che lo accomuna a un po' tutti i pittori che a quella data giungevano nella città pontificia - la sua "folgorazione" per il nuovo linguaggio adottato dal Caravaggio, che era in quegli anni inquieto protagonista della scena artistica romana.

Il periodo di sua permanenza lontano dalla Valsesia durò verosimilmente sino al 1615, mentre il fratello Melchiorre vi fece ritorno assai prima.

Pochissime sono le opere assegnate dagli storici dell'arte al suo catalogo datate in questi quindici anni trascorsi prima a Roma, poi a Napoli e in terra di Abruzzo.

Si possono citare una Pentecoste i cui frammenti sono oggi conservati presso il Museo di Capodimonte di Napoli, la pala con la Circoncisione che si trova a Fara San Martino e quella con la Madonna dell'incendio sedato] a Pescocostanzo (AQ) e la Madonna con Bambino nella sacrestia della Parrocchiale di Colledimezzo. In esse, per l'attenzione realistica e per gli intensi effetti chiaroscurali che fanno uscire le persone dal buio della scena, è palese il debito artistico verso il Merisi; ma sono anche presenti, nelle mani scarne ed adunche dei personaggi, nei volti scavati, nei gesti enfatici dell'estasi mistica, quei tratti di tormentato empito religioso che costituiscono una delle più significative cifre dell'opera intera di Tanzio da Varallo.

Si tratta - val la pena ricordarlo - di tele legate alla spiritualità francescana, che verosimilmente gli vennero allogate attraverso il "patronaggio" di alcuni rappresentanti dell'ordine dei Minori Osservanti al quale Tanzio fu devoto per tutta la vita.

Il ritorno in Valsesia ed il lavoro al Sacro Monte

È ragionevole supporre che il suo ritorno nei luoghi nativi, dopo le credenziali artistiche acquisite nei lunghi anni precedenti, sia legata alla prospettiva di un suo coinvolgimento - forse sollecitato dal fratello Giovanni - negli affreschi delle nuove cappelle del Sacro Monte di Varallo.

Prima di assumere tale impegno, Tanzio ebbe modo di dar prova delle qualità artistiche raggiunte realizzando, nel 1616, la pala di Domodossola, San Carlo comunica gli appestati; un'opera che fissa in un preciso istante l'atto di carità e di umiltà del Santo, in un'aura vitrea, resa angosciante dalla presenza tragica di un destino di morte.

L'artista di Riale di Alagna dovette porsi qui il problema del rapporto tra il realismo caravaggesco che a Roma gli era, per così dire, entrato nel sangue ed il manierismo di matrice piemontese - lombarda che si sforzava di interpretare la spiritualità e gli intenti pedagogici controriformistici propugnati da San Carlo Borromeo.

Giovanni Testori sottolinea in questi termini la difficile sintesi che Tanzio - a partire dalla pala di Domodossola - dovette continuamente inseguire:

Ciò che spinge d'Enrico a confrontarsi con i protagonisti del Seicento piemontese e lombardo non è la esigenza di compiacere i gusti dei committenti; è un "più di coscienza", che serve a comprendere il senso della pastorale di San Carlo, la sua devozione per il Monte, l'eroismo della sua fede; senza tuttavia mai indulgere alla esteriorità di atteggiamenti devozionali, densi di artificio retorico. Una ricerca che parte dalla pala di Domodossola e che non si risolverà mai in una formula fissa, serialmente ripetuta, ma si riproporrà con un insaziabile desiderio di cogliere, ogni volta, la verità dei temi trattati.

In continuità stilistica con la pala di Domodossola si collocano gli affreschi della cappella XXVII (Cristo condotto per la prima volta al tribunale di Pilato) al Sacro Monte, opera che già sul finire del 1616 gli venne allogata. Subito dopo, in immediata successione, il lavoro al Monte proseguì con gli affreschi della cappella XXXIV (Pilato si lava le mani),(1619-20).
Circa un decennio più tardi, arriverà la commessa relativa ad un'altra scena di tribunale, quella della Cappella XXVIII ( Gesù davanti ad Erode)

L'impegno al Sacro Monte fu straordinario. Si trattò per Tanzio di affrontare una prova estremamente impegnativa, non solo per l'ampiezza del programma iconografico, ma poiché doveva, muovendosi fianco a fianco con il fratello Giovanni, sperimentare gli artifici prospettici con i quali si realizza la teatralità di una scena, sciogliendo il nodo tra scultura e pittura, risolvendo cioè il rapporto tra gli attori posti in primo piano,  con statue in terracotta, e la folla affrescata degli astanti, che sembrano illusivamente voler allontanarsi dalle architetture che stanno sulle pareti per entrare nella realtà tridimensionale della cappella. Si trattò inoltre, e più in generale, di rimanere fedeli - per esplicita richiesta dei fabbriceri - alla cifra poetica impressa al "Gran Teatro Montano" dal suo antico patriarca, Gaudenzio Ferrari.

Tanzio dimostrò di essere all'altezza della sfida: la integrazione con il vigoroso e popolaresco realismo di Giovanni d'Enrico si dimostrò oltremodo efficace, e non pesò su di essa la curvatura "arcaica" imposta dalla fedeltà verso Gaudenzio, la cui lezione Tazio aveva respirato sin dall'infanzia.

Scrive Filippo Maria Ferro:

Le committenze di sperdute parrocchie

Nella decorazione delle cappelle del Sacro Monte, Tanzio dimostrò dunque di reggere pienamente, per qualità poetica e tecnica pittorica, il confronto con il più celebre Pier Francesco Mazzucchelli detto il Morazzone.

Elena De Filippis ha scritto di lui:

Risulta allora quasi inspiegabile come, nel periodo che intercorre tra i primi lavori al Monte e la prestigiosa allogazione degli affreschi per la cappella dell'Angelo Custode nella basilica di San Gaudenzio a Novara (1627), le commesse, pur numerose, ricevute da Tanzio riguardino, in modo quasi esclusivo,  parrocchie secondarie, disperse nei territori tra Piemonte e Lombardia.

Ci sono, è vero, anche i ritratti di gentildonne e di gentiluomini, eseguiti con un realismo ed una sensibilità psicologica (si pensi ai due ritratti di Brera ed al Ritratto di gentiluomo con pugnale e copricapo in collezione privata) che li collocano tra la migliore ritrattistica del primo Seicento. Si tratta, verosimilmente di commesse che pervennero a Tanzio da rappresentanti dell'aristocrazia che avevano potuto ammirare i suoi lavori al Monte o che già lo avevano coinvolto nella realizzazione di quadri di soggetto sacro destinati a cappelle poste sotto il loro patronato.

Per il resto, il catalogo di Tanzio nel periodo indicato si compone interamente di quadri devozionali destinati a pievi sperdute, in paesi che si fa fatica a trovare su una carta stradale. La ricerca di quelli tuttora presenti "in situ" ci porta a Lummellogno, frazione di Novara, (Madonna col Bambino adorata dai Santi Francesco e Domenico), a Vagna, frazione di Domodossola, (Visitazione), a Fontaneto d'Agogna (Santi in adorazione della Trinità). In data più tarda si colloca la tela conservata a Cellio (Processione del Santo Chiodo, circa 1628), poi quella di Gerenzano (un Cristo Crocifisso di struggente bellezza, da poco inserito nel catalogo del D'Enrico).

Nonostante fossero destinate a committenze di secondo piano, Tanzio profuse, per ciascuna di esse, un grande impegno, una accuratezza di esecuzione artigianale e un "pathos" narrativo che non conosce cali di tensione.

Un sogno di bellezza: le tele di Davide e Golia

Ci sono poi i quadri di soggetto religioso che, con ogni probabilità, erano anch'essi destinati a chiese minori, passati in seguito attraverso alienazioni o attraverso il mercato antiquario, e che ora si ammirano nella cornice più sofisticata di musei o di collezioni private.

Tra di esse devono essere citate almeno la tela del tenero incontro di Giacobbe e Rachele alla Galleria Sabauda, il San Sebastiano curato da Sant'Irene alla National Gallery di Washington e i due Davide con la testa di Golia presenti nella pinacoteca di Varallo.

Molto, a proposito di questi due ultimi quadri, è stato detto sulla "ambiguità" del personaggio biblico che vi è raffigurato, quasi che un ancor adolescente pastore valsesiano, con il volto arrossato dal vento che gli scompone i capelli, avesse prestato la sua testa al corpo atletico, scolpito nella sua muscolatura, all'eroico uccisore di Golia.

Secondo Giovanni Testori si tratta di:

Sempre a questo riguardo Marco Bona Castellotti aggiunge:

Gli anni della peste

Nel febbraio del 1627 la reputazione guadagnata dal D'Enrico sembrò destinata a portarlo verso traguardi di maggior prestigio. Siglò in quella data il contratto per gli affreschi della cappella dell'Angelo Custode nella basilica di San Gaudenzio a Novara, con la prospettiva di realizzarvi poi la grande tela, La battaglia di Sennacherib, che doveva porsi dirimpetto a quella, altrettanto grande, dipinta dal Morazzone con le scene del Giudizio Universale. Poco dopo arrivarono anche le commesse nella città di Milano (affreschi delle chiese di Sant'Antonio e di Santa Maria della Pace).

Ma quelli non furono, per Tanzio, anni in cui egli poté compiacersi della notorietà raggiunta. Nel 1630 si abbatté infatti sul Nord d'Italia la tragedia della peste (quella narrata dal Manzoni): sin dal 1628 se ne erano colte le avvisaglie.

Il flagello del morbo portava la gente ad interrogarsi sulle ragioni della tragedia, ritenuta un castigo divino, e poneva la urgenza - come ai tempi di san Carlo Borromeo rievocati dalla pala di Domodossola - della intercessione salvifica delle sante reliquie e dei santi protettori.

Tanzio dovette meditare a lungo sulla spiritualità borromea. È di quegli anni la tela con San Carlo che porta in processione il santo Chiodo, nella parrocchiale di Cellio, densa di notturni bagliori di tragedia in mezzo ai quali risalta la spettrale fissità dei volti dei santi.

L'incubo e lo sgomento della peste costituiscono visibilmente la cifra del telero con Sennacherib sconfitto dall'Angelo che egli, come si è detto, dipinse a Novara alla fine del 1629, a completamento dei lavori nella basilica di San Gaudenzio. L'irruzione, in un cielo greve di angoscia, dell'Angelo Vendicatore affinché si compiano le parole di Isaia sullo sterminio dell'esercito assiro, diventa una scoperta immagine del flagello della peste.

Ancora Filippo Maria Ferro:

Testori giudicava il Sennacherib  "capolavoro supremo; certo uno dei più alti raggiungimenti del secolo intero".

Tanzio ebbe poco tempo, passato il flagello della peste, per assaporare il lento ritorno alla normalità. Il tempo per dipingere qualche nuova tela (ricordiamo il San Rocco di Camasco (1631), una sorta di "ex voto" per il buon esito della implorazione rivolta dalla comunità del paese al santo taumaturgo a protezione della peste), e il tempo per iniziare gli affreschi nella collegiata di Borgosesia (1632).

La tradizione storiografica locale vuole che, negli ultimi anni, Tanzio vivesse a Varallo presso il convento francescano di Santa Maria delle Grazie. Lì, nella chiesa annessa al convento, era a quella data presente un suo dipinto, Il martirio dei santi francescani a Nagasaki; un quadro che esprime una doppia fedeltà che ha connotato tutta la carriera del suo autore: quella all'ordine francescano, che si manifesta nella intensità emotiva con cui tratta la spettacolare scena del martirio, e quella alla mai scordata lezione del Caravaggio, che traspare dal ricordo ancora vivo delle tele viste nelle chiese di Roma.

Opere

 Adorazione dei pastori, 1605-1610 circa, olio su tela, collezione privata
 Madonna seduta, 1605-1610 matita nera su carta grigio-verde, collezione privata
 San Giovanni Battista, 1608-1610 circa, olio su tela, collezione privata
 Frammenti di una Pentecoste, olio su tela, 1608-1610 circa, Napoli, Museo di Capodimonte. In deposito dalla basilica di Santa Restituta
 Martirio di san Lorenzo, 1605-1610 circa, olio su rame, Roma collezione privata
 Circoncisione di Gesù con i santi Carlo Borromeo e Francesco d'Assisi, olio su tela, 1610-1611 circa, Fara San Martino (CH), chiesa di San Remigio
 Madonna con il Bambino, san Francesco d'Assisi e donatore, 1611-1613 circa, olio su tela chiesa di San Giovanni Evangelista, Colledimezzo (Chieti). In deposito presso l'Arcidiocesi di Chieti-Vasto, Palazzo arcivescovile, Chieti
 San Francesco riceve le stimmate, 1611-1614 circa, olio su tela, collezione Koelliker
 San Francesco in preghiera sulla Verna, 1611-1614 circa, olio su tela, Varallo, Pinacoteca già in collezione Remogna
 Madonna di Costantinopoli con i santi Bernardino da Siena, Francesco d'Assisi, Chiara, Margherita e la donatrice Pompa de Matteis d'Amata, 1614, olio su tela, Pescocostanzo (AQ), collegiata di Santa Maria in Colle
 Ritratto di gentiluomo con la spada, 1614-1616 circa, olio su tela, collezione privata
 Madonna con il Bambino tra i santi Francesco d'Assisi e Caterina d'Alessandria e donatrice, 1615 circa, olio su tela, collezione privata
 Davide con la testa di Golia, 1616 circa, olio su tela, Varallo, Pinacoteca, inv. 690
 San Carlo comunica i malati di peste, 1616, olio su tela, Domodossola (VB), collegiata dei Santi Gervasio e Protasio
 San Sebastiano curato da due angeli, 1616, olio su tela, Washington, National Gallery of Art
 San Giovanni Evangelista, santa Caterina d'Alessandria, san Teodoro e santa Apollonia, 1616-1618, olio su tela, Verbania, Museo del paesaggio
 Sant'Antonio da Padova, 1617-1618, 58x44, olio su tela, Varallo, Pinacoteca
 Gentiluomo, 1617-1618, olio su tela, Milano, Pinacoteca di Brera
 Gentildonna, 1617-1618, olio su tela, Milano, Pinacoteca di Brera
 Testa di gentiluomo, 1617-1618, olio su rame, Gallarate, Museo gallaratese di studi patri
 Cristo condotto per la prima volta al tribunale di Pilato, 1617-1618, affresco, Varallo, Sacro Monte, Cappella XXVII
 Pilato si lava le mani, 1619-1620, affresco, Varallo, Sacro Monte, Cappella XXXIV
 San Gerolamo, 1623 circa, olio su tela, Kansas City, Nelson-Atkins Museum of Art
 David con la testa di Golia, 1623 circa, olio su tela, Varallo, Pinacoteca, inv.689
 Due angeli che reggono la corona della Vergine, 1623-1627 circa, olio su tela, Varallo, Pinacoteca
 Madonna col Bambino adorata dai santi Domenico e Francesco, 1623-1627 circa, olio su tela, Lumellogno (NO), chiesa dei Santi Ippolito e Cassiano
 Ritratto di gentiluomo con pugnale e copricapo, 1623, olio su tela, collezione privata
 Ritratto di gentiluomo, 1623, olio su tela, collezione privata
 Giacobbe e Rachele, 1625 circa, olio su tela, Torino, Galleria Sabauda
 Visitazione, 1626 circa, olio su tela, Vagna (frazione di Domodossola), chiesa di San Brizio
 Ritratto di gentiluomo, 1627 circa, olio su tela, Cleveland, Cleveland Museum of Art
 I Santi Pietro e Marco, 1627-28 circa, olio su tela, Torino, Galleria Sabauda
 Adorazione dei pastori con san Carlo Borromeo, 1628 circa, olio su tela, Torino, Museo civico d'arte antica
 San Carlo porta in processione il Sacro Chiodo, 1629-30 circa, olio su tela, Cellio (VC), chiesa di San Lorenzo
 San Giovanni Battista nel deserto, 1627-29 circa, olio su tela, Tulsa, Philbrook Museum of Art
 Gesù davanti ad Erode, 1628-1629, affresco, Varallo, Sacro Monte, Cappella XXVII
 Santi in adorazione della Trinità, 1629-30 circa, 310x185, olio su tela, Fontaneto d'Agogna (NO), chiesa parrocchiale della Beata Vergine Assunta
 Decorazione della cappella dell'Angelo Custode, affresco, 1628-29, Novara, basilica di San Gaudenzio
 Sennacherib sconfitto dall'Angelo, 1629-30 circa, 153x95, olio su tela, Novara, Museo civico
 Sennacherib sconfitto dall'Angelo, 1629-30, 570x260, olio su tela, Novara, basilica di San Gaudenzio
 Cristo Crocifisso, 1630 circa, olio su tela, Gerenzano, chiesa dei Santi Pietro e Paolo
 San Rocco, 1631, 190x125, olio su tela, chiesa parrocchiale di Camasco, fraz. di Varallo (VC). In deposito presso la Pinacoteca di Varallo
 Madonna con il Bambino, San Carlo e San Francesco e due angeli, 1631 circa, olio su tela, Parigi, museo del Louvre
 Madonna con il Bambino e i Santi Carlo e Francesco, 1631 circa, 285x190, olio su tela, già nella parrocchiale di Sabbia, ora conservata presso Varallo, Pinacoteca
 Martirio dei beati francescani a Nagasaki, 1631-32 circa, 115x80, olio su tela, Milano, Pinacoteca di Brera
 Beato Giovanni Tavelli da Tossignano, 1631-32 circa, olio su tela, Varallo, Pinacoteca
 Sant'Onofrio,  1631-32 circa, olio su tela, collezione privata
 Annuncio dei pastori, Adorazione dei pastori, Gloria angelica, 1631-1632, affreschi, Milano, chiesa di Santa Maria della Pace
 Redentore in gloria, Profeti Daniele e Isaia, Angeli musicanti, 1631-1632, affreschi, Milano, chiesa di Sant'Antonio Abate
 Vergine addolorata, 1632 circa, olio su tela, collezione privata
 Decorazione della cappella Gibellini, 1633 circa, affresco, Borgosesia (VC), collegiata dei Santi Pietro e Paolo
 Adorazione dei pastori con San Francesco e San Carlo Borromeo, 185x149, olio su tela, Los Angeles, Los Angeles County Museum of Art
 Fuga in Egitto, olio su tela, Houston, Museum of Fine Arts
 Madonna con il Bambino, San Carlo e San Francesco, affresco staccato da una casa di Varallo e riportato su tela, Varallo, Pinacoteca

Note

Bibliografia
 Giovanni Testori, Il manierismo piemontese e lombardo del Seicento, 1955, catalogo della Mostra, Torino-Ivrea;
 Giovanni Testori, Tanzio da Varallo, catalogo della mostra, Torino, 1959 (ora in G. Testori, La realtà della Pittura, Longanesi, Milano, 1995);
 Marco Bona Castellotti, Introduzione alla mostra, in "Tanzio da Varallo. Realismo, fervore e contemplazione in un pittore del Seicento",  Milano, Federico Motta Editore, 2000, (Catalogo della mostra su Tanzio tenuta a Milano, Palazzo Reale);
 Filippo Maria Ferro, Tanzio e l'Angelo, ibidem;
 Elena De Filippis, Tanzio al Sacro Monte, ibidem;
 Achille della Ragione - Il secolo d'oro della pittura napoletana, pag. 6 - Napoli 1997 - 2001
Achille della Ragione - Tanzio da Varallo incontra Caravaggio. Dal 24 ottobre a Palazzo Zevallos - Napoli 2014

Voci correlate
 Sacro Monte di Varallo
 Giovanni d'Enrico
 Arte della Controriforma

Altri progetti

Collegamenti esterni

Enrico Venturelli, Tanzio da Varallo. La commozione davanti alla bellezza maschile.

Artisti di scuola piemontese

redpajama_set_name: RedPajamaWikipedia


text:
Posts Tagged 'New York during World War II'
The remains of a luxury ship at a Brooklyn church
The biggest bottle of champagne in the world helped christen the French luxury liner the S.S. Normandie when it first launched in 1932.
Too bad this nautical marvel and Art Deco beauty didn't plough the Atlantic for long.
In 1941, after the Germans took over France and with the Normandie safely docked in New York, the U.S. Coast Guard seized control of the ship.
The plan was to renovate the 1,000-foot liner into a ship for troops and to rename it the USS Lafayette.
Workers were busily converting the 1,000-foot vessel when it caught fire and capsized in its berth on the Hudson in February 1942.
The destruction of the Normandie—everyone thought it was sabotage, but that wasn't the case—was major news in wartime New York City.
People lined up to view its remains, as Pete Hamill recalls in his memoir, A Drinking Life:
"[His mother] took us there again and again, to gaze at its parched hull, more than a thousand feet long, its giant propellers high out of the water. In my memory, the ruined liner looks humiliated, like a drunk who has fallen down in public."
After the Normandie was hauled away, its ruins were sold for scrap metal—with a few exceptions.
The magnificent doors of the first class dining room from the Normandie's luxury liner days were salvaged by Our Lady of Lebanon Maronite Cathedral (right) in Brooklyn Heights.
To this day, the doors—with their intricate medallions showing scenes and sights in Normandy and lovely carvings of trees and leaves—greet visitors to the church at two different entrances at Henry and Remsen Streets.
They're a quiet remnant of New York during World War II, a time that fewer and fewer residents have any memory of.
Tags:Brooklyn at War, Doors of the Normandie, Luxury Ships Normandie, New York during World War II, New York Harbor WW II, Our Lady of Lebanon Maronite Cathedral, SS Normandie, SS Normandie fire, USS Lafayette World War II
Posted in Brooklyn, Disasters and crimes, Music, art, theater | 6 Comments »
Times Square at night, as 1941 becomes 1942
Wartime New Yorkers still took the time to celebrate the new year, crowding into a Times Square ablaze with light in this Life magazine image.
Life put together a slideshow of other photos that capture New Year's Eve 1941: military policemen, soldiers and sailors dancing and drinking, and NYPD horses herding the crowd.
Tags:billboards Times Square, New York during World War II, New York in the 1940s, Times Square New Year's Eve, Wartime New York City
Posted in Holiday traditions, Midtown, Music, art, theater | 5 Comments »
A West Chelsea warehouse with a nuclear past
On the prime West Chelsea block just off the West Side Highway and north of Chelsea Piers sits a stretch of handsome warehouses.
Once run by a company called Baker and Williams, these warehouses played a key role in the creation of the atomic bomb.
This is where the heads of the Manhattan Project—the code name for the building of the first atom bomb in the 1940s—decided to store tons of uranium.
According to this federal document, approximately 219,000 pounds of uanium from Africa by way of Canada was stored here before "distribution to U.S. government reservations."
It wasn't until the early 1990s when the government cleaned the warehouse of residual uranium. "Workers removed more than a dozen drums of radioactive waste, according to the Department of Energy in Washington," wrote The New York Times in 2007.
Of course, it's not the only site in the city that played a key role in Manhattan island's namesake project.
Research was conducted at Columbia University, administrative headquarters established at 270 Broadway, and an engineering office (set up to acquire crucial bomb-making material) existed at Fifth Avenue and 29th Street.
Tags:Baker and Williams Warehouse, building the bomb New York City, Manhattan Project, Manhattan Project locations, New York during World War II, West 20th Street Chelsea, West Chelsea secret, West Chelsea street
Posted in Chelsea, Lower Manhattan | 1 Comment »
All the ways New York celebrated the New Year
You could make the argument that New York practically invented, or at least modernized, the New Year holiday.
It all started with the early Dutch settlers, who began the tradition of New Year's calling: going around the colony "calling" on their friends and neighbors to wish them well in the coming year (and indulge in plenty of pipe-smoking and partying too).
In the 19th century, New Year's calling persisted, and bells would ring at midnight on January 1 at Trinity Church in Lower Manhattan.
By the 20th century, both traditions were replaced with something new: the dropping of an illuminated ball in Times Square starting on December 31, 1907.
Gathering in restaurants and bars became popular, as this photo, dating to 1910-1915, shows. Prohibition would soon put a damper on that.
The down and out weren't excluded from welcoming the New Year. Here, men dine at a Salvation Army dinner sometime before 1920.
In 1942, some Greenwich Village boys blow horns in front of Max Moscowitz' clothing store, on Bleecker Street and Sixth Avenue.
In 1956, Times Square was packing in what looks to be a mostly orderly crowd—even then, they must all be from out of town!
Tags:Dutch New Year, New Years celebrations, New Years Eve New York City, New York during World War II, old New York New Year, Times Square ball drop, Times Square New Year's festivities, Times Square New Years
Posted in Bars and restaurants, Holiday traditions, Houses of worship, Lower Manhattan, Midtown | 3 Comments »
The British soil that built part of the FDR Drive
Next time you're stuck in traffic between 23rd Street and 34th Street on the FDR Drive, take a moment to consider where the land beneath you came from.
It wasn't fill from digging the subways or skyscrapers—it was actually transported here all the way from England in the 1940s.
"During World War II, the Luftwaffe savagely bombed the city of Bristol, England, a major port for American supply ships," wrote Michael Pollack in his FYI column in The New York Times in June 2009.
"After the supplies were unloaded, the American ships had no British goods to replace them on the return trip, and needed ballast for stability. So they loaded up rubble from Bristol's bombed-out buildings."
"Back in New York, the ships dumped the ballast from 23rd to 34th Street as landfill for what would become the East River Drive, now Franklin D. Roosevelt Drive."
Though you won't find it on any city road maps, the slight curve of the East River between these blocks is known as Bristol Basin (above).
Tags:Bristol Basin, building the FDR Drive, East River Drive, East River history, FDR Drive, Little England NYC, New York City maps, New York during World War II
Posted in Beekman/Turtle Bay, Disasters and crimes, Gramercy/Murray Hill, Maps, Transit | 18 Comments »

redpajama_set_name: RedPajamaCommonCrawl


Congratulations to our three Chief Architect Kitchen/Bath & Interiors Contest winners!
Thank you all for sharing your designs with us and our community.
Tahani Places First with Her Kitchen Inspired by a Custom 52″ Range.
Tahani Share places first in the Chief Architect Kitchen/Bath & Interior Design Contest. She has a background in CAD and now uses Chief Architect as her go-to software for kitchen and bath remodels.
Congratulations to our three Chief Architect Kitchen/Bath and Interior Design Contest winners!
It's vital to be able to create a smart, functional design that fits the needs of your clients without sacrificing style. Let's discuss how you can leverage the powerful tools in Chief Architect software to meet specific accessibility needs that will wow your customers, and hopefully have a profoundly positive effect on their day-to-day lives.
Design Contest – Kitchen/Bath & Interior Design!
Chief Architect Design Contests are a fun way to share your designs, build credibility and expose your brand. Share one of your Kitchen/Bath & Interior Designs for a chance to win Chief Gear. Use any Chief Architect or Home Designer software product to create your original design.
Shona Griffin places 2nd in the Chief Architect Kitchen/Bath & Interior Design Contest. She's based in Atlanta, Georgia and owns a small home-based drafting and permitting service called Key Designs.
Congratulations to the 2017 Chief Architect Design of the Year Contest winners!
Throughout the year, Chief Architect holds a monthly design contest for our customers to showcase their work. This year, we had over 140 renderings submitted for our Kitchen/Bath/Interiors, Residential, and Remodeling Design Contests.
These inspiring designs have been shared on the Chief Architect Facebook page and we are excited to combine the winning designs into our Design of the Year Contest. Discover more about the contestants through our Featured Contest Winner stories.


starting a stone crushing plant minucharitabletrust.org. starting a stone crushing plant investment required for starting a stone crusher plantCapital Required To Start A Stone Crushing Plant In Manipur. capital required to . View quotes >> Crushing Plants Home Facebook.
to start a stone crushing plant kerala -, cost of starting a metal crusher in kerala - thestophotoorg papers required to start a stone crusher in kerala For .
how to start a stone crushing business crusher plant supplier. Home; how to start a stone crushing business crusher plant supplier; South African Directory of Construction Companies & Services. A listing of Construction Companies & Services websites in South Africa. Get A Free Quote.
Starting A Stone Crushing Plant . Starting A Stone Crushing Plant - how to start a stone crushing business in pakistan The crushed stone is then used as raw material for variousHome Rock Crushing. Get More Info.
Cost To Start A Stone Crusher Plant stone crusher plant cost in india mining equipment for salecrusher plant project concept development start up productionproject cost for stone crushing plant 14530. Read more. crusher plant cost to startscienceplanetin.
starting a stone crushing plant. starting a stone crushing plant is one of the products of our company main products sold,it is not only good stability, high . [More info] starting a stone crushing plant - solidarite-atakora.org.
Starting A Stone Crushing Plant Starting A Stone Crushing Plant. Send Inquiry. ... These ideas for starting over after your husband's death won . primary stone crusher for rent in karnataka. Requirements To Start A Stone Crushing .


text:
Der Marine-Wasserturm (auch: Mürwiker Marine-Wasserturm) wurde im Jahre 1908 direkt neben der Marineschule Mürwik errichtet und diente dieser zur Wasserversorgung.

Geschichte

Der Marine-Wasserturm war nach dem 1901–1902 errichteten Wasserturm auf dem Westufer der Flensburger Förde, später Alter Wasserturm genannt, der zweite Wasserturm innerhalb der Stadtgrenzen. Architekt des Turmes war – wie auch schon bei der Marineschule – Adalbert Kelm, der den Turm in das Gesamtbild der 1907–1910 gebauten Marineschule einfügte. – Für Adalbert Kelm war dies nicht sein erster Wasserturm. 1904 war schon der Wasserturm Kiel-Wik nach seinen Plänen entstanden.

Der ungefähr 30 Meter hohe Marine-Wasserturm in Flensburg-Mürwik ist genauso wie die Marineschule vom Wasser aus zu sehen und bietet eine entsprechende Aussicht. Ebenso wie das benachbarte Marinelazarett (errichtet ungefähr 1907 bis 1913) liegt der Turm am südöstlichen Rande der Marineschule und bildet zusammen mit dieser den Vorburgbereich der Burganlage. Er diente der Marineschule über einen längeren Zeitraum zur Wasserversorgung. 1961 übernahm der Mürwiker Wasserturm, der eigentlich im Stadtteil Fruerlund steht, die Versorgung des Ostufers. Doch erst 1981 erhielt die Marineschule Mürwik einen öffentlichen Wasseranschluss. Damit hatte der Marine-Wasserturm seine originäre Funktion verloren. Anfang der 1990er Jahre wurde der Wasserbehälter ausgebaut, wodurch das Mauerwerk beschädigt wurde und der Turm an Stabilität einbüßte. Die Marine hatte keine Verwendung mehr für den Turm und er wurde verkauft. Doch unter diesem privaten Eigentümer zerfiel der Turm offenbar weiter.

Irgendwann Anfang der 2000er Jahre wurde eine Familie auf den Turm aufmerksam und kaufte ihn. Im Jahr 2010 wurde der Turm saniert und für die  Wohnzwecke der Familie umgestaltet. Seitdem beherbergt jedes Geschoss des Turmes 55 m² Wohnfläche. Ein Fahrstuhl im Inneren führt neben der Wendeltreppe bis nach oben. Zudem wurde eine Feuerleiter an der Außenwand nachgerüstet. Die Leiter geht jedoch nicht hinab bis zum Boden, sondern führt nur bis zu der Höhe, die die Feuerwehr mit ihren Leitern erreichen kann. Der Marine-Wasserturm wurde mittlerweile als ein Mürwiker Kulturdenkmal eingetragen. Die zeitgemäße Umgestaltung und Rettung des Marine-Wasserturms wurde 2013 mit dem ersten Preis des Bundespreises für Handwerk in der Denkmalpflege geehrt. Die Eigentümerfamilie des Marine-Wasserturmes teilte sich den Preis mit drei Gewinnern aus Lübeck, die ein denkmalgeschütztes Dielenhaus vor dem Verfall bewahrten.

Mürwiks Marine-Wasserturm ist im Gegensatz zum Mürwiker Wasserturm im Volkspark nicht besteigbar und zu besichtigen.

Siehe auch
Liste der Wassertürme in Schleswig-Holstein

Einzelnachweise

Weblinks

Kulturdenkmal in Flensburg
Marineschule Mürwik
Flensburg
Umgenutztes Bauwerk in Schleswig-Holstein
Flensburg, MarineWasserturm
Prämiertes Bauwerk (Bundespreis für Handwerk in der Denkmalpflege)
Rundturm


text:
World's first fully-staged drive-in opera comes to London
From AV Interactive.
"The English National Opera has placed its trust in live event specialist ADI to support the world's first fully staged drive-in opera, ENO Drive & Live at Alexandra Palace, London from 19-27 September. This outdoor project provided UK audiences with live opera for the first time since March, with ADI providing a complete event production solution, incorporating staging, structures, LED screens, lighting, OB and cameras."
"Clearly audio is an all-important part of the opera experience. What would usually be projected from a stage into an acoustically balanced 2,000 seater auditorium had to be translated into hundreds of vehicles in a car park. ADI and ENO explored a number of options including delivery over Bluetooth via an app, but eventually decided on the traditional drive-in solution of delivering over radio signal to individual cars. This was supported by an onsite 5.1 audio system which covered the whole car park."
That's feakin' cool! Check out the full article over at avinteractive.com.
Entire Productions believes the safety-conscious event model is here to stay
Is this the future of Hybrid Meetings?


It was a cloudy day when Mauriano asked Karina to marry him. He had seen some locations on my website and chosen Iseltwald with the castle in the background. I gave him the instructions on where to meet. It was surprise for Laurin and I had to be "invisible" until after he had proposed to Lauren.
Everything went to plan. Sean and Lauren arrived early. So did I. I walked ahead of them and managed to set up before they arrived at the location. The low cloud blocked out the mountains. I suggested a ride up the mountain and above the clouds. You can see the pictures in another report.
Mariano asks Karina to marry him in Iseltwald, a picturesque Swiss village on Lake Brienz near Interlaken.
Mariano asks Karina to marry him in Iseltwald, a picturesque Swiss village on Brienz lake near Interlaken.


Captain Blood (1935) was such a stunning box office success that Warner Brothers Studios decided to follow-up with a second sea faring adventure, which would again feature their dashing swashbuckling hero Errol Flynn. Production delays and script rewrites delayed the film until 1940, however the time was well spent, as the final product was just brilliant, perhaps the greatest swashbuckling film of all time. Korngold was the natural choice for composer and his classic European romantic style was perfectly suited for the film. He always viewed films as an opera libretto for orchestra and sought to create a complex, ornate, and thematically rich contrapuntal soundscape. For The Sea Hawk he created an amazing eleven leitmotifs that fully captured the sea faring, adventure, heroism and pageantry of the Spanish and Elizabethan courts.
What elevates this score to a masterpiece was Korngold's ability to perfectly capture and emote the persona of Errol Flynn's complex character, Geoffrey Thorpe – a privateer who asserts patriotism as justification of his actions in combating Spanish tyranny. The horn rich fanfare of the main title brilliantly presents Thorpe's heroic theme, a theme that has passed unto legend. The Love Theme is also one of the finest Korngold ever created, fully demonstrating his compositional genius. The harmonics of this haunting and sumptuous melody is breath-taking in its beauty, and most remarkable is the fact that he changes key with every phrase! In terms of battle music, the cue "Battle", which features Thorpe's Albatross engaging Captain Lopez's galleon, which carries the Spanish ambassador and the beautiful Dona Maria offers an astounding 17-minute tour de force, which features inspiring interplay of Korngold's primary themes. His inspired writing reveals how music elevates a film.
Also notable are the amazing cues "Thorpe Enters The Castle" and "Duel" where we bear witness to some of the greatest swordplay music ever written! Observe how Korngold attenuates his music to the choreography of the swordplay! Lastly, just as he did in The Adventures Of Robin Hood (1938), Korngold's renowned fanfares are again on full display with a robust assembly of four French horns, seven trumpets – (four primary and three contrapuntal), four trombones and a tuba! This score represents the zenith of Korngold's career, and regretfully, his final score for a swashbuckling film. It is for me, one of the finest legacies of the Golden Age, one that earns Korngold immortality.
Music composed by Erich Wolfgang Korngold. Conducted by William Stromberg. Performed by The Moscow Symphony Orchestra. Original orchestrations by Hugo Friedhofer, Ray Heindorf and Milan Roder. Recorded and mixed by Gennady Papin. Score produced by Leo F. Forbstein and Erich Wolfgang Korngold. Album produced by William Stromberg, John Morgan and Anna Bonn.
Hi Craig, when will this list resume?
I'm eager to see how it compares to my own.


This section provides useful information for members and non-members about the DGA's affliates.
Created as a result of the DGA's collective bargaining agreements with producer associations representing the motion picture, television and commercial production industries, the DGA-Producer Pension and Health Plans provide excellent benefits to participants.
The Directors Guild Foundation provides confidential loans to DGA members facing short term financial hardship. Foundation funds also support the MPTV Health Care Centers and underwrite the DGA-Motion Picture Industry Conservation Collection at UCLA.
The Film Foundation seeks to protect motion picture history by providing support for preservation and restoration projects at leading film archives. The Foundation also creates programs to teach students about the cultural, artistic, and historical significance of film.
The Assistant Directors Training Programs accept a limited number of candidates each year to participate in on-the-job training to become 2nd Assistant Directors. Trainees receive paid, hands-on work experience on actual projects and attend mandatory seminars. Graduates of the program are invited to join the Guild.
The ISAN (International Standard Audiovisual Number) is a voluntary numbering system for the identification of audiovisual works that provides an internationally recognized and permanent reference number for each audiovisual work registered in the system.
The DGA provides an online version of the list of DGA signatory agencies that have agreed to abide by certain rules and regulations. Please note that the DGA is not liable for the acts or omissions of any signatory agency and the Guild does not offer assistance in selecting or retaining an agent.
Here you will find website links to information on: Film Commissions, Film Festivals & Conferences, Film Schools & Training Programs, other Guilds and Unions, Industry Organizations, Safety Issues, and Studios and Distributors.


Bloggers: how do you maintain narrative authority in a competitive market? How do you resonate with your readers? The World Wide Web is a volatile entity that takes no prisoners. This week on Explicit Content: Andy Crestodina and Jeff Julian discuss The Survey of a Thousand Bloggers.
Our audience depends on us for integrity-in-content. Science shows: original research will help to build your place as a source to whom they may turn for savvy information. Communicating with your network may just ... See More be the answer.
The consumer sees the "roundup" as just a stack of quotes, but providing an executive summary of opinions, from experts, while preserving cadence of discourse is becoming the benchmark. When creating collaborative content: we rely on quality sources to leverage their network as a promotional engine that benefits all parties.
You are your own curator. Evergreen content does not grow on trees. What was old can be new again by cultivating lasting relationships with your collaborators and readers.


text:
Still Singing
MAIN MENU Cancer Health Summer 2020
Next The Cancer Health 25: Change Makers
Curtis Salgado Jay Fram
Veteran bluesman Curtis Salgado was told his liver cancer would kill him in six months. That was 14 years ago.
June 15, 2020 • By Chris Azzopardi
By the time Curtis Salgado was wailing a four-letter expletive on his friend's floor, he knew his health had taken a hit. For years, he'd had hepatitis C, which had led to early-stage cirrhosis and, now, gallstones. It was 2006—before his first terminal cancer diagnosis and his quadruple bypass.
Salgado, who is a self-employed musician, had no health insurance. He wound up in the hospital for nearly a week but feared receiving a bill he couldn't afford. So he ignored the signs that his health was suffering and left, hoping for the best because "that's the kind of knucklehead I am," he says.
Then the doctor called. A biopsy had detected a cancerous tumor the size of a clementine (5.5 centimeters, about 2.2 inches) on his liver. Even as he was on the phone, his overburdened body collapsed to the floor as he yowled the f-word. "From that point on," he says, "it was a roller coaster ride."
In the years since, the soul singer-songwriter has had many reasons to sing the blues.
The good news? He's still singing the blues.
"I Told Myself I'd Never Get Cancer"
Salgado's liver cancer diagnosis didn't come out of nowhere—not when he considers his history. The 66-year-old musician was in his early 20s when he became the leader of the blues band The Nighthawks and, a few years later, co-leader of the Robert Cray Band. Drugs were everywhere. "I did it all," he says. "I shot up drugs, I smoked drugs, drank a lot, partied. Then I just went, 'I've had enough.'"
He saw the devastating effects lung cancer had on his mother, a chain-smoker—it killed her. "It wasn't pretty, and I told myself I'd never get cancer," he says. Shaken by her death, he was galvanized to take better care of himself.
So at 35, Salgado entered a treatment facility and beat his addictions. He started working out, lost weight, focused on music again, played bigger venues and in 1991 released his first solo album, Curtis Salgado & the Stilettos.
But the damage to his body, particularly to his liver, had been done. Just before the album's release, he learned he had hepatitis C. He skipped most of the treatments, which at the time were costly, caused flu-like symptoms and were not very effective. (He was eventually treated and cured with new medications in 2016.)
By 2006, liver damage from hepatitis C had led to liver cancer. Radiation shrank the tumor somewhat, but his doctor told him that if he didn't get a liver transplant soon, the cancer would be terminal, and he'd have only six months to live. "All you can do is just think about it, and just one day at a time," he says about the grim prognosis. "You're just thinking, How am I gonna get out of this? I was on a journey that was just—you had 10 different paths in front of you, and, basically, you picked the wrong one, and it could be you're doomed."
The tumor was so large that all but one transplant center refused him treatment. But after six months, he underwent successful liver transplant surgery at the Nebraska Medical Center in Omaha. He still lacked health insurance, but a benefit concert in Salgado's hometown of Portland, Oregon, paid for the transplant. While he recovered in the hospital, Bonnie Raitt, with whom he had toured, covered his rent. Once he returned home, he took it easy for a year. Everything considered, he calls it "a wonderful miracle."
Three weeks later, however, a biopsy of his old diseased liver detected a microscopic invasion of a small blood vessel. Eight months later, the cancer had metastasized. (If it had been found before the transplant, he wouldn't have qualified for a new liver.) In early 2008, a routine checkup turned up a marble-sized cancerous mass on the lower left lobe of his left lung. He had no symptoms.
Surgery removed the tumor, but in 2012, it came back in the same spot; this time, his surgeon removed the entire lower lobe of his left lung.
Then came the heart attack. It was spring 2017. His band was leaving Vermont for a gig in upstate New York. As he loaded gear onto the tour van, he felt uncharacteristically winded; a dull ache radiated through his shoulder blades. Shortly thereafter, his mouth filled with saliva. "I didn't even know it was a heart attack," he says.
Next stop: a quadruple bypass. Back home in Portland, he took heart health classes at the local hospital, started eating smaller, healthier meals, walked more, went to physical therapy and ran on a treadmill to James Brown music.
Three months after undergoing the bypass, Salgado returned to the stage on July 4, 2017, performing at the Waterfront Blues Festival in Portland. Remarkably, his voice was unaffected, still high and loud and hard.
A Blues Brotherhood
Salgado and his mother, an amateur pianist who played for the family, made his first guitar together. He was 11. It was a cardboard toy modeled after a Fender Stratocaster. The next year, he got a real guitar. He played it at talent festivals near his childhood home in Eugene, Oregon.
"Life and music, for me, go hand in hand," says Salgado. "It's the thing that powers me, the thing that excites me."
As a kid, he devoured his parent's jazz records, including Count Basie and Fats Waller; later, his two older siblings introduced him to the music of '60s blues icons Skip James and Paul Butterfield. Salgado started playing gigs in high school and a few years later played bars in Eugene with The Nighthawks.
He became co-leader of the Robert Cray Band. One day, in 1977, John Belushi, in town to film Animal House, came to see Salgado play. Salgado had never heard of him, but they bonded over the blues—Belushi mentioned that Ray Charles, one of Salgado's heroes, was an upcoming guest on Saturday Night Live—and became fast friends. Salgado would later inspire Belushi's role in the 1980 film The Blues Brothers. "Curtis opened the door to a new and more exciting area of music for me," wrote Belushi in a letter of recommendation for his mentor. He dedicated his Blues Brothers album to Salgado.
From 1984 through 1986, Salgado fronted Roomful of Blues, and in 1991, he released the first of 10 solo albums. In 2013, at that year's Blues Music Awards, he received the coveted B.B. King Entertainer of the Year award.
Pick Yourself Up, and Move Down the Line
"How do I take all this stuff?" he says reflecting on being surrounded by death—many of his friends have died—and having his own brushes with it. "It is what it is. You pick yourself up, and you move down the line. Life is finite." Salgado contemplates death with pathos and wry humor on his intimate and improvisational acoustic soul-blues-Americana 2018 album, Rough Cut, a collaboration with guitarist Alan Hager. While it ruminates on the inevitabilities of aging, he says, "it's not songs for old people." It includes "Hell in a Handbasket," a song he wrote while recovering from his second lung cancer surgery in 2012. The lyrics go: "Now I've been told by some, for all the sins I've done, any chance of seeing Heaven, they say it's next to none. I supposed that's true, if you take into consideration, everything I've done, I never did in moderation." Says Salgado, with a chuckle, "it's a fun little death ditty." On another, "So Near to Nowhere," he sings: "In a fever dream, drippin' boulders of sweat, I'm asking God why I ain't dead yet. He says, 'I warned you boy, but you never listen, the Devil don't want the competition.'"
That time after his second surgery was marked by prolific songwriting, and some of the songs he wrote then ended up on his new album, Damage Control, which will be released as soon as the pandemic allows. The personal and self-reflective album is about overcoming adversity, and Salgado cowrote 12 of its 13 songs—the most he's ever written for a release.
How's his health these days? "You can say I'm doing great. I'm doing fine." These days, "fine" includes taking an immunosuppressant medication so that his body won't reject his liver transplant. That makes him susceptible to pesky colds and other infections, including COVID-19. He went into quarantine in March; he definitely falls into an at-risk group for the virus.
As for cancer, he's in remission and goes for checkups every four to six months. "After cancer," he says, "life turns into a whole other thing." He now focuses on what's worth his time and energy. That includes dancing with his life partner of seven years, Suzanne, an artist—sometimes to R&B grooves, other times Louisiana zydeco. One way he stays active is by blowing into his harmonica and performing onstage, a workout on its own. "It's something to sing 30 songs every night," he says.
During the worst of it, Salgado drew strength from the words of Suzanne Lindley, a colon cancer survivor he met in Chicago while speaking about his harrowing experiences at the 2008 symposium for the liver cancer support group Say YES to HOPE. He hopes others find the same encouragement that helped him keep fighting even when the odds were stacked against him. "You don't die of cancer," she told him. "You live with cancer."
#diagnosis
#hepatitis C
#liver cancer
#liver transplant
#remission
#substance use
#surgery
#treatment
How One Man Got Through Pancreatic Cancer and Its Chemo and Surgery


text:
Black Thrash Attack è il primo album in studio del gruppo black metal norvegese Aura Noir, pubblicato nel 1996.

Tracce

Formazione
Aggressor (Carl-Michael Eide) - chitarre, basso, batteria, voce
Apollyon (Ole Jørgen Moe) - chitarre, basso, batteria, voce
Blasphemer (Rune Erickson) - chitarre

Collegamenti esterni


text:
package org.apache.samza.sql.client.util;

import java.util.List;
import org.junit.Assert;
import org.junit.Test;

public class RandomAccessQueueTest {
  private RandomAccessQueue mQueue;
  public RandomAccessQueueTest() {
    mQueue = new RandomAccessQueue<>(Integer.class, 5);
  }

  @Test
  public void testAddAndGetElement() {
    mQueue.clear();
    for (int i = 0; i < 4; i++) {
      mQueue.add(i);
    }
    Assert.assertEquals(0, mQueue.getHead());
    Assert.assertEquals(4, mQueue.getSize());
    Assert.assertEquals(0, mQueue.get(0));
    Assert.assertEquals(3, mQueue.get(3));

    for (int i = 0; i < 3; i++) {
      mQueue.add(4 + i);
    }
    int head = mQueue.getHead();
    Assert.assertEquals(2, head);
    Assert.assertEquals(5, mQueue.getSize());
    Assert.assertEquals(2, mQueue.get(0));
    Assert.assertEquals(3, mQueue.get(1));
    Assert.assertEquals(4, mQueue.get(2));
    Assert.assertEquals(5, mQueue.get(3));
    Assert.assertEquals(6, mQueue.get(4));
  }

  @Test
  public void testGetRange() {
    mQueue.clear();
    for (int i = 0; i < 4; i++) {
      mQueue.add(i); // 0, 1, 2, 3
    }
    List<Integer> rets = mQueue.get(-1, 9);
    Assert.assertEquals(4, rets.size());
    Assert.assertEquals(0, mQueue.get(0));
    Assert.assertEquals(3, mQueue.get(3));

    for (int i = 0; i <= 2; i++) {
      mQueue.add(4 + i);
    }
    rets = mQueue.get(0, 4);
    Assert.assertEquals(2, rets.get(0).intValue());
    Assert.assertEquals(3, rets.get(1).intValue());
    Assert.assertEquals(4, rets.get(2).intValue());
    Assert.assertEquals(5, rets.get(3).intValue());
    Assert.assertEquals(6, rets.get(4).intValue());
  }

  @Test
  public void testConsume() {
    mQueue.clear();
    for (int i = 0; i < 4; i++) {
      mQueue.add(i); // 0, 1, 2, 3
    }
    List<Integer> rets = mQueue.consume(1, 2);
    Assert.assertEquals(1, mQueue.getSize());
    Assert.assertEquals(3, mQueue.getHead());
  }
}

redpajama_set_name: RedPajamaGithub


on the roof and floor of the cave forming spectacular stalactites and stalagmites of various forms. When a ;ight is shone on them, they glitter like a wonderland. Sannur cave is characterized by the presence of geological formations known as Stalactites and Stalagmites in a perfect beautiful formed over millions of years! about 6 million years ago dates back to the Era of Middle Eocene.
Leakage of aqueous solution of calcium carbonate saturated through the roof of the cave and then evaporated, leaving the mineral salts that accumulated in the form of deposts of stalactites and stalagmites.
The quality and rareness of the natural formations"Egyptian Alabaster" found in the cave make this place a rarest on earth.
The place seems to be an ideal arena for reearchers and caving fans to conduct detailed and comparative studies which can help in getting a deeper understanding of the enviromental conditions that were present during the ancient era.
The cave is located at 10km from the city of Beni Suef which is one and half hour diriving distance from Cairo.


Where to stay around Haleakalā?
Our 2019 accommodation listings offer a large selection of 24 holiday lettings near Haleakalā. From 3 Houses to 11 Bungalows, find unique self catering accommodation for you to enjoy a memorable holiday or a weekend with your family and friends. The best place to stay near Haleakalā is on HomeAway.
What are the most popular destinations to visit in Haleakalā?
HomeAway offers you the possibility to discover many other popular destinations in Haleakalā! Please use our search bar to access the selection of self catering accommodations available in other popular destinations.
What are the main cities to discover in Haleakalā?


Gianola, 1973: Boom cover, cushions, etc.
Cruise 5 kn @ 3/4 gph; total weight 126 lbs!; new 973; spares.
Exceeds U.S. Coast Guard safety specs, hand start and electric.
Cups, plates, pans, utensils, etc.
Standard 880S VHF FM with 12 crystaled channels, 3db ant.
Kaar 150-Watt double sideband AM with 8 working channels.


What is the cheapest way to get 260 whp?
Have you ever considered which way to go to increase the power of your Honda S2000? There are many options from which to choose. You might go the route of Naturally Aspirated, or turn to Forced Induction tuning. More exotically, you have a few other options such as the juicy NOS. (Some would suggest a simple aftermarket shorter final gear; this doesn't actually increase power, but the feeling is great when you see those RPMs climbing on your tachometer). But have you ever considered what is the cheapest way to get more power at the wheels? A fellow owner, aceking66, has posted a topic in the S2000 Naturally Aspirated Forum with this specific simple question, but the variety of answers will be quite controversial and anything but simple. Perhaps you could help out with your reply and point him in the right direction. So, what is, in fact, the cheapest way to get 260 whp in the Honda S2000?
S2000 Forums-> What is the cheapest way to get 260 whp?


text:
HIU Announces Closure of Nebraska Christian College
Published on : April 2, 2020
Twitter Facebook Pinterest Linkedin Google +
By Jim Nieman
Nebraska Christian College will close at the end of this semester.
The announcement was made this afternoon after a decision by the Hope International University board of trustees. HIU and NCC had merged in 2016.
"To give you an idea of our current challenge, our spring enrollment there [at NCC] has fallen to under 90 students, which is the lowest in 30 years," said Paul Alexander, president of the combined university, via a video posted at NCC's website. "The number of students required to cover our costs there is just about 200. So, that gap is simply too big. We don't have the students we need to continue."
"The past two years has taken a large toll on the student body and financial condition of the college," Alexander said.
Despite the closure, university officials have assured students enrolled at the Nebraska campus that multiple options are open to them.
"It is imperative that our students and their families understand this is a branch campus closure," Alexander said. "Students enrolled at NCC are already HIU students, by virtue of the merger, and will continue to be enrolled at HIU." While the news is likely unsettling and disappointing, he said, "we want them to know that we will do everything in our power to assist them through this."
Students may choose to transition to HIU's campus in Fullerton, Calif., to complete their degree programs or to complete their degrees online. According to a press release, half of NCC's 85 students are already enrolled in online programs, and may continue uninterrupted, while the other half have the option to transition to the Fullerton campus or complete their degrees online.
This transition will not increase students' out-of-pocket tuition costs, and institutional financial aid levels will remain the same, according to the announcement.
Ministry students participating in residencies will be able to continue at their current host churches. HIU plans to consult with church leaders in the NCC region to develop a plan for preserving ongoing ministry preparation opportunities, Alexander said.
THE 2016 MERGER
Back in 2016, the merger of HIU and NCC was seen as an opportunity to build on the strengths of both institutions.
HIU's then-president John Derry said at the time, "We will integrate the best of both HIU and NCC, in pursuit of our shared mission." The partnership was also seen as a way to "offer long-term strategic and financial sustainability."
The merger ensured regional accreditation to NCC's academic programs and expanded the breadth of degrees offered in the Midwest region by adding HIU's undergraduate, graduate, and online programs. It also ensured that each campus maintained a unique identity.
HIU was an early adopter and has been seen as a leader in online Christian education; it was anticipated that that strength could be put to good use in the Midwest.
Throughout its history, NCC focused on pastoral ministry and developed a solid reputation for preparing pastors through its Institute for Church Leadership, which included on-campus learning and church residency components.
NCC has granted degrees to more than 1,000 students over the course of its 75-year history.
The decision to close the Nebraska Christian College campus is the second major closure in the past few months among Christian colleges affiliated with the Restoration Movement. Cincinnati Christian University ceased operations after the fall semester.
The last remaining RM-affiliated college in Nebraska is Summit Christian College in Gering.
NCC STARTED IN NORFOLK IN 1944
Nebraska Christian College started its life in 1944 in Norfolk, Neb., and remained there until 2006, when it moved to Papillion, Neb., in the Omaha metro area.
The college was founded in a converted apartment house, according to a Norfolk (Neb.) Daily News story from 2009. "About 15 years later, as enrollment swelled and facilities tightened, overflow space was added across the street."
"In the early 1970s, Nebraska Christian gradually migrated from its cramped downtown quarters to 85 acres of untouched land along Norfolk's northwest edge, where it remained until its move to Sarpy County in 2006," the story continued.
At the time it moved to Papillion, NCC still had plenty of room for expansion in Norfolk, but its buildings were aging and the school longed for exposure to an area where there were more supporting churches, the Daily News story said. Norfolk (a city of about 25,000) and the surrounding area had only 10 supporting churches within an hour's drive of campus where students could plug into ministries. Omaha was much —more than 400,000 people—and had more than 40 churches affiliated with the Restoration Movement in the vicinity, which offered a greater variety of opportunities for student internships.
Jim Nieman serves as managing editor of Christian Standard.
Tags Christian College Hope International University Nebraska Christian College
Prev Post Influenza Pandemic of 1918-19: "Our Ministry, Especially, Has Been Smitten"
Virtual Meetings . . . Real Relationships Next Post
Elliott Library 'Cornerstone' Laid
Stine Succeeds Jett as Executive Director of IDES
Bill Towns
It is very sad to see our Bible Colleges closing. I've been to NCC several times in the early 80's while I was at CCCB. We need to pray that God will rise up leaders and students that would want an education that a faithful Bible College offers.
Victor Knowles
York College is a Restoration Movement College located in Nebraska. They are affiliated with the Churches of Christ.
Michael C. Mack
Thanks, Victor. Good information for those looking for alternatives.
Brent Adamson
It is a sadness to see it close, but our world is changing -sadly. Back in the day when I was at PVBC (Summit Christian), I have fond memories of some of their students and their program.
Nebraska Christian College: A Eulogy - Auburn Christian Church
[…] As well, in light of the closing, Christian Standard wrote a very good review of the history and recent events that led up to the closure. You can read that article at this link. […]


Antique store of vintage, collectible & antique items.
You will find here - rare gift, wedding gifts and anniversary gifts.
Free Worldwide delivery on the most items.
Our clients range from hotels & restaurants, museums & theatre props departments as well as antique dealers and the general public.
Beautiful watch, perfect packing and incredibly fast delivery. Thank you.
Great experience shopping with this company. I would highly recommend to everyone.
I had a wonderful experience with Konstantinos Antiques. As a seller they were prompt, courteous and professional in their role as a seller dealing with an overseas buyer.
beautiful watch, packed perfectly and a nice Card as a bonus.Thanks a lot!
Excellent, thank you, can recommend seller.
Great seller. The old Russian cross is just Amazing!


How much do your auditors know about your industry?
Your audit process can be made significantly more efficient and effective when the people handling it arrive already equipped with a firm understanding of the trends, opportunities, issues, and regulations that make your business unique. When you work with auditors who have industry experience, who regularly attend industry conferences, and who produce high-level thought leadership, the result is a more focused audit process with a greater awareness of where the risks are – and aren't.
Do you have access to your auditor's national technical resources?
Your audit firm may have a national office full of talented, experienced professionals, but are they paying attention to your audit? These technical resources should be accessible, client-facing, and responsive; the more access you have, the better able you are to resolve issues before they cost you valuable resources, and to identify opportunities before they've passed you by. Ultimately, technical skill is only useful when it's provided in a timely manner.
How strong is your relationship with your auditor?
There's no substitute for mutual understanding. Building a strong, committed professional relationship with your auditors not only strengthens the quality and efficiency of this year's audit, but makes for a smoother process in audits to come. Engaging in candid, deep-dive sessions outside of formal audit committee meetings, for example, can significantly improve communication between you and your auditors. Developing best practices like this will allow you to effectively and efficiently address the many complex issues that affect your financial reporting and, by extension, your audit.


text:
Q: Calculating the average degree/valency of vertices If I were to let T be a tree with n vertices, what would be the average degree/valency of the vertices in T? How would I go about calculating this?

A: Hints:
(i) How many edges does a tree on $n$ vertices have?
(ii) Each edge of a graph contributes $2$ to the total degree sum of the graph.
This allows you to calculate the total degree sum for a tree on $n$ vertices, and from this you can find the average degree.

A: If you know the definition of degree of a vertex in a graph, then you can easily calculate the average valency of a tree.
If $K$ is the average valency, then we have
$$K=\frac{1}{n}(\deg(v_1)+\deg(v_2)+\ldots+\deg(v_n)),$$ where $n$ is the total number of vertices in a tree, $\deg(v_1)$ is the degree(valency) of $v_1$ (first vertex) and so on.

redpajama_set_name: RedPajamaStackExchange


text:
Q: Tricky javascript code for fun (and learning) there's a short JavaScript code which is a bit hard to read, I admit. And also, there's a task with it. Here's the code:
x_ = _ = _y = love = null, _x = "x", _y = "y";
console.log(Infinity in window & !!0 == !!!1 & +~~_ + "" === _ ? _ + _x : _ + _y);

where output is nully. Output should be "value x" (where value is the value of love).
Ps.: You can only change the value of love at declaration, nothing else. Once again: you can give love any value, but output must contain "x" at the end, right after love's value.
EDIT:
There was a mistyping problem at declaration, fixed.

A: In the following:
Infinity in window & !!0 == !!!1 & +~~_ + "" === _ ? _ + _x : _ + _y

You can put parenthesis as such:
(Infinity in window & !!0 == !!!1 & +~~_ + "") === (_) (? _ + _x) : (_ + _y)

"Infinity in window" is true, !!0 is false, !!!1 is false, ~~_ is 0 (this, I don't know why). So The left operand gives:
true & false == false & +0 + ""

This gives 0. Which is not strictly equal to null (_) , so the :? operator returns  _+_y. The operation (null + "y") returns a string where null is converted to "null", so you get "nully".


Are you after the best furniture stores Sunshine has to offer? Then visit us at Furniture Galore today and see why we're the top choice. You won't find better quality lounges, coffee tables and dining tables anywhere else, and our cheap prices mean we offer better value than any outlet for your living room, dining room, bedroom and home office furniture.
Don't spend your time looking for "furniture stores near me" when we have everyone you might want in our impressive collection and packages. Combined with reliable delivery and flexible payment plans, anyone in Australia can find their ideal furniture and feel confident that it's the right investment for them. With seven stores around Melbourne and our online store, there are plenty of ways to find out what we have.
It's never been easier to find great furniture stores in Sunshine as Furniture Galore has one in the area! Contact a member of our team if you have any questions or use our store locator to find out exactly how to reach us here or at any of our other shops.


text:
, née le  à Tokyo, est une actrice japonaise.

Biographie

Issue de l'école de la Daiei, elle obtint son premier rôle à l'âge de dix-huit ans, en 1952. Remarquée pour sa beauté, elle tourna ensuite avec Kenji Mizoguchi dans Les Musiciens de Gion, puis dans le dernier film de celui-ci, la Rue de la honte. À la fin de ces années 1950, l'étendue de son talent apparaissait déjà, de Jeune fille sous le ciel bleu de Yasuzō Masumura à Herbes flottantes de Yasujirō Ozu. Dans les années 1960, elle devint l'actrice principale de Masumura, qui en fit autant le modèle de la nouvelle femme japonaise que de la femme éternelle. Leur collaboration cessa en 1969 et marqua le déclin de la carrière de Wakao. Par la suite, elle joua surtout dans des séries télévisées.

Ayako Wakao a tourné dans près de 160 films entre 1952 et 1987.

Filmographie sélective

Années 1950

 1952 :  de Eiichi Koishi
 1952 :  de Kōzō Saeki
 1952 :  de Eiichi Koishi
 1952 :  de Kōzō Saeki
 1952 :  de Kōzō Saeki
 1952 :  de Seiji Hisamatsu
 1952 :  de Ren Yoshimura
 1952 :  de Shigeo Nakaki
 1953 :  de Kōji Shima
 1953 :  de Seiji Hisamatsu
 1953 :  de Kōji Shima
 1953 :  de Kōzō Saeki
 1953 :  de Kenji Mizoguchi
 1953 :  de Kōzō Saeki
 1953 :  de Eiichi Koishi
 1953 :  de Kōzō Saeki
 1953 :  de Seiji Hisamatsu
 1954 :  de Keigo Kimura
 1954 :  de Shirō Toyoda
 1954 :  de Kazuo Mori
 1954 :  de Kimiyoshi Yasuda
 1954 :  de Kōzō Saeki
 1954 :  de Kōji Shima
 1954 :  de Kazuo Mori
 1954 :  de Shigeo Tanaka
 1954 :  de Hiroshi Edagawa
 1954 :  de Kōzō Saeki
 1955 :  de Kazuo Mori
 1955 :  de Takashi Mita
 1955 :  de Shūei Matsubayashi
 1955 :  de Teinosuke Kinugasa
 1955 :  de Keigo Kimura
 1955 :  de Kōji Shima
 1955 :  de Kazuo Mori
 1955 :  de Shigeo Tanaka
 1955 :  de Kōzō Saeki
 1955 :  de Kazuhiko Saimura
 1956 :  de Kōzō Saeki
 1956 :  de Keigo Kimura
 1956 :  de Keigo Kimura
 1956 :  de Kōji Shima
 1956 :  de Kenji Mizoguchi
 1956 :  de Shigeo Tanaka
 1956 :  de Shigeo Tanaka
 1956 :  de Kon Ichikawa
 1956 :  de Kōji Shima
 1956 :  de Kōzō Saeki
 1956 :  de Kō Mizuno
 1956 :  de Yoshirō Kawazu
 1956 :  de Kon Ichikawa
 1956 :  de Kōzaburō Yoshimura
 1956 :  de Shigeo Tanaka
 1957 :  de Mitsuo Murayama
 1957 :  de Nobuhiko Hamano
 1957 :  de Mitsuo Murayama
 1957 :  de Kōji Shima
 1957 :  de Kazuo Mori
 1957 :  de Shigeo Tanaka
 1957 :  de Kōzō Saeki
 1957 :  de Kōji Shima
 1957 :  de Shirō Toyoda
 1957 :  de Yasuzō Masumura
 1958 :  de Shigeo Tanaka
 1958 :  de Hiroshi Edagawa
 1958 :  de Shigeo Tanaka
 1958 :  de Heinosuke Gosho
 1958 :  de Kunio Watanabe : Orin
 1958 :  de Shigeo Tanaka
 1958 :  de Katsuhiko Tasaka
 1958 :  de Kōji Shima
 1958 :  de Hiroshi Edagawa
 1958 :  de Kōzaburō Yoshimura
 1958 :  de Kōzaburō Yoshimura
 1958 :  de Kōji Shima
 1959 :  de Kon Ichikawa
 1959 :  de Yasuzō Masumura
 1959 :  de Hiroshi Edagawa
 1959 :  de Bin Kado
 1959 :  de Yasuzō Masumura
 1959 :  de Kazuo Mori
 1959 :  de Kōji Shima
 1959 :  de Yasuzō Masumura
 1959 :  de Shigeo Tanaka
 1959 :  de Yasujirō Ozu
 1959 :  de Keigo Kimura

Années 1960

 1960 : , sketch :  de Yasuzō Masumura
 1960 :  de Tarō Yuge
 1960 :  de Yasuzō Masumura
 1960 :  de Kon Ichikawa
 1960 :  de Umetsugu Inoue
 1960 :  de Sokichi Tomimoto
 1960 :  de Kōji Shima
 1960 :  de Yasuzō Masumura
 1960 :  de Shunkai Mizuho
 1961 :  de Tokuzō Tanaka
 1961 :  de Umetsugu Inoue
 1961 :  de Kōzaburō Yoshimura
 1961 :  de Tarō Yuge
 1961 :  de Yasuzō Masumura
 1961 :  de Shigeo Tanaka
 1961 :  de Kōzaburō Yoshimura
 1961 :  de Yūzō Kawashima
 1961 :  de Shunkai Mizuho
 1961 :  de Kazuo Mori
 1961 :  de Yasuzō Masumura
 1962 :  de Kōzaburō Yoshimura
 1962 :  de Yūzō Kawashima
 1962 :  de Yasuzō Masumura
 1962 :  de Umetsugu Inoue
 1962 :  de Yoshio Inoue
 1962 :  de Keigo Kimura
 1962 :  de Kōzaburō Yoshimura
 1962 :  de Keigo Kimura
 1962 :  de Shigeo Tanaka
 1962 :  de Yūzō Kawashima
 1963 :  de Kon Ichikawa
 1963 :  de Shigeo Tanaka
 1963 :  de Kenji Misumi
 1963 :  de Umetsugu Inoue
 1963 :  de Sokichi Tomimoto
 1963 :  de Kōzaburō Yoshimura
 1963 :  de Kazuo Mori
 1964 :  de Keigo Kimura
 1964 :  de Yasuzō Masumura
 1964 :  de Satsuo Yamamoto
 1964 :  de Sokichi Tomimoto
 1964 :  de Yasuzō Masumura
 1964 :  de Umetsugu Inoue
 1964 :  de Noriaki Yuasa
 1965 :  de Sokichi Tomimoto
 1965 :  de Shirō Toyoda
 1965 :  de Kōji Shima
 1965 :  de Shigeo Tanaka
 1965 :  de Yasuzō Masumura
 1965 :  de Shigeo Tanaka
 1965 :  de Sokichi Tomimoto
 1966 :  de Yasuzō Masumura
 1966 :  de Kenji Misumi
 1966 :  de Satsuo Yamamoto
 1966 :  de Kazuo Ikehiro
 1966 :  de Yasuzō Masumura
 1966 :  de Kōji Shima
 1967 :  de Kenji Misumi
 1967 :  de Sokichi Tomimoto
 1967 :  de Yasuzō Masumura
 1967 :  de Tadashi Imai
 1967 :  de Yasuzō Masumura : Kaé
 1968 :  de Kazuo Mori
 1968 :  de Tadashi Imai
 1968 :  de Yasuzō Masumura
 1968 :  de Yasuzō Masumura
 1969 :  de Yasuzō Masumura
 1969 :  de Satsuo Yamamoto

Années 1970
 1970 :  de Kihachi Okamoto
 1970 :  de Toshio Masuda
 1971 :  de Yōji Yamada : Yūko Akashi
 1971 :  de Tadashi Sawashima
 1975 :  de Kaneto Shindō

Années 1980
 1987 :  de Kon Ichikawa

Distinctions

Récompenses
 1962 : prix Blue Ribbon de la meilleure actrice pour Confessions d'une épouse, Les femmes naissent deux fois et L'Âge du mariage
 1962 : prix Kinema Junpō de la meilleure actrice pour Confessions d'une épouse et Les femmes naissent deux fois
 1966 : prix Blue Ribbon de la meilleure actrice pour La Femme de Seisaku et Vague d'ombre
 1966 : prix Kinema Junpō de la meilleure actrice pour La Femme de Seisaku, Tsuma no nichi no ai nokatamini et Vague d'ombre
 1969 : prix Kinema Junpō de la meilleure actrice pour Le Couple humide, La Boîte à cubes et Quand le doute s'immisce
 2006 : Prix Kinuyo Tanaka

Notes et références

Liens externes

Actrice japonaise de cinéma
Naissance en novembre 1933
Naissance à Tokyo
Prix Kinuyo Tanaka


text:
Beatrix Savojská (kolem 1310 – 19. říjen 1331) byla dcerou savojského vévody Amadea V. a jeho manželky Marie Brabantské. Byla korutanská vévodkyně, tyrolská hraběnka a třetí manželka Jindřicha Korutanského z rodu Menhardovců. Používala titul česká královna, přestože jí nenáležel.

Život
Z historických pramenů známe Beatrix Savojskou především jako třetí manželku českého krále Jindřicha Korutanského.

První manželství Jindřicha Korutanského
Jindřichovou první manželkou od roku 1306 byla Anna Přemyslovna, která mu přinesla titul český král. Anna však v září 1313 ve věku 22 let nečekaně zemřela v Lublani, aniž by mu dala jediného potomka. Tím Jindřich ztratil titul český král a navíc již v té době v Čechách nežil. Byl odtud vyhnán poté, co se českým králem stal Jan Lucemburský, manžel Elišky Přemyslovny.

Druhé manželství Jindřicha Korutanského

Ještě téhož roku 1313 si Jindřich vzal za ženu téměř o třicet let mladší Adlétu Brunšvickou, se kterou pak žil na svém panství v Korutanech. Jednalo se v první řadě o politický sňatek, ale také o snahu zajistit si dědice. Adléta Brunšvická mu však porodila pouze dvě dcery. Starší Adléta byla psychicky nemocná a tak se mladší Markéta, zvaná Pyskatá, stala jedinou dědičkou korutanských držav. Adléta Brunšvická zemřela v roce 1320 a zanechala Jindřicha bez mužského dědice.

Třetí manželství Jindřicha Korutanského

Jindřichovou třetí a poslední manželkou se stala Beatrix Savojská v roce 1328. Beatrix se narodila kolem roku 1310 jako dcera savojského hraběte Amadea V. a jeho manželky Marie, dcery brabantského vévody Jana I. Již v sedmnácti letech byla provdána za muže o více než čtyřicet let staršího. Ačkoliv Jindřich v době svého třetího sňatku již nebyl českým králem a smrtí své první manželky Anny ztratil nárok na český trůn, obě jeho další ženy měly titul českých královen. Sám Jindřich se ostatně panovnického titulu nevzdal.

Vládnoucí český král Jan Lucemburský byl bratranec Beatrix Savojské, neboť jejich matky Marie a Markéta byly sestry. Původně se Jindřich měl k Lucemburkům přiženit mnohem dříve. Ovšem oba plánované sňatky s příbuznými krále Jana ztroskotaly na nechuti mladých dívek provdat se za obstarožního korutanského vévodu. Jednalo se o královu sestru Marii a o neteř Beatrix.

V pořadí již třetí sňatek Jindřicha Korutanského s Beatrix Savojskou byl dílem rakouských vévodů. Habsburkové se obstaráním nové nevěsty pro stárnoucího, ale zřejmě stále vitálního vévodu chtěli zapsat kladně do jeho mysli a získat a upevnit spojenectví. Koneckonců Beatrix byla švagrová vévody Leopolda I. Dohoda o zasnoubení Beatrix Savojské byla sepsána v Innsbrucku 23. prosince 1326, svatba se konala v roce 1328. Korutanec poté pověřil či spíše zplnomocnil Albrechta II., aby od savojských hrabat převzal nevěstino věno ve výši pět tisíc hřiven stříbra. Po svatbě devítiletého syna českého krále Jana Lucemburského, Jana Jindřicha, s Korutancovou dcerou Markétou (16. září 1330) sepsali oba otcové mladých novomanželů řadu úmluv a dohod.

Jindřich Korutanský se stále ještě ve svých pětašedesáti letech domníval, že mu Beatrix porodí mužského dědice. Nepovedlo se mu to, neboť Beatrix zemřela bezdětná 19. října 1331. Jindřich zemřel za několik let po ní v roce 1335 po záchvatu mrtvice. Jindřich se na tehdejší dobu dožil vysokého věku a až do své smrti se nezřekl svých nároků na českou korunu.

Odkazy

Reference

Literatura
 KAREŠOVÁ, Z.; PRAŽÁK, J. Královny a kněžny české. 1. vyd. Praha : X-Egem, 1996.

Savojští
Tyrolské hraběnky
Kraňské markraběnky
Korutanské vévodkyně
České královny
Narození ve 14. století
Úmrtí 19. října
Úmrtí v roce 1331
Ženy


text:
We are grateful for the support of TFS' parents, alumni and friends and are honoured to recognize the members of our community who help us to advance the school's mission. We strive for recognition that is timely, meaningful, appropriate and integrated into the life of the school.
To recognize this generosity, we honour our donors' commitment through membership into our giving society, Le cercle des philanthropes de TFS. Le cercle recognizes and celebrates donors for their contribution to the school in terms of annual and lifetime giving and through special fundraising campaigns.
Members of Le cercle who contributed $25,000 or more to TFS over time become members of Le cercle des grands mécènes and are recognized on our Wall of Distinction, a permanent donor wall located in the Foyer des élèves James Doak at the Senior School.
This wall is a beautiful and lasting tribute to our cumulative giving donors, whose extraordinary generosity and long-term support and belief in TFS have helped it become the great school it is today. On this wall, we also honour our Alumni of Distinction Award recipients who embody our school's vision, mission and values. Importantly, they inspire all TFS students to reach for academic ambition, seek all-round development and apply an international perspective, as they aim to positively contribute to our world.
To demonstrate our appreciation, we also offer our generous supporters a range of opportunities for donor plaques, named spaces and named scholarship funds.
For more information on giving levels and recognition opportunities, please contact the Office of Advancement & Alumni Relations.