Long & Short of Displaying Art: Permanent Collections & Temporary ExhibitionsDFeller2
There are advantages and disadvantages for the visiting public when art museums mount temporary exhibitions. This slide show accompanies a paper of the same name available for view on www.deborahfeller.com. Click on "Art Historian."
Long & Short of Displaying Art: Permanent Collections & Temporary ExhibitionsDFeller2
There are advantages and disadvantages for the visiting public when art museums mount temporary exhibitions. This slide show accompanies a paper of the same name available for view on www.deborahfeller.com. Click on "Art Historian."
Titian in the End: From Wholesome Flesh to Disintegrating SkinDFeller2
A musing on Titian's "Flaying of Marsyas" painting, left in his studio at the end of his life (1576), entering the art historical record in the early 20th century.
Possessing Strangeness: Don Fernando Enríquez Afán de Ribera and Jusepe de Ri...DFeller2
Jusepe de Ribera, a Spanish artist who moved to Rome at age 15, was in the Spanish ruled, Italian city of Naples from age 25 till his death at 51. Early in his life there, his patron--the Viceroy of that territory, the Duke of Alcalá--commissioned him to paint a local oddity, the bearded lady. The paper that is accompanied by this slide show can be found on www.deborahfeller.com. Click on "Art Historian."
Bcom 275 guide 3 29) A concept proposing that negative cultural assumptions ...yamunaupm
29) A concept proposing that negative cultural assumptions about a group can create for its members a belief in those assumptions is called
A. a halo effect
B. an attribution error
C. a stereotype threat
D. a perceptual process
Titian in the End: From Wholesome Flesh to Disintegrating SkinDFeller2
A musing on Titian's "Flaying of Marsyas" painting, left in his studio at the end of his life (1576), entering the art historical record in the early 20th century.
Possessing Strangeness: Don Fernando Enríquez Afán de Ribera and Jusepe de Ri...DFeller2
Jusepe de Ribera, a Spanish artist who moved to Rome at age 15, was in the Spanish ruled, Italian city of Naples from age 25 till his death at 51. Early in his life there, his patron--the Viceroy of that territory, the Duke of Alcalá--commissioned him to paint a local oddity, the bearded lady. The paper that is accompanied by this slide show can be found on www.deborahfeller.com. Click on "Art Historian."
Bcom 275 guide 3 29) A concept proposing that negative cultural assumptions ...yamunaupm
29) A concept proposing that negative cultural assumptions about a group can create for its members a belief in those assumptions is called
A. a halo effect
B. an attribution error
C. a stereotype threat
D. a perceptual process
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
1. Canaletto. London: The Thames and the City of London from Richmond House. Detail.
1747. Oil on canvas. 44-7/8" x 39-3/8".
Trustees of the Goodwood House, West Sussex, UK. [Fig. 11.1]
8. William Hogarth. Gin Lane.
1751. Engraving and etching. 14" x 11-7/8".
Copyright The Trustees of the British Museum, London/Art Resource, New York.
[Fig. 11.7]
9. Germain Boffrand. Salon de la Princesse de Soubise (Salon ovale),
Hôtel de Soubise, Paris.
ca. 1740. 33' x 26' ovoid.
Photo: Bulloz. Reunion des Musees Nationaux/Art Resource, New York. [Fig. 11.8]
10. Charles-Joseph Natoire. Salon de la Princesse de Soubise, Hôtel de Soubise, Paris:
Cupid and Psyche, painted section of ceiling.
1738. Oil on canvas. 5' 7-3/4" x 8' 6-3/8".
Peter Willi/The Bridgeman Art Library. [Fig. 11.9]
11. Jean-Antoine Watteau. The Embarkation from Cythera.
ca. 1718-19. Oil on canvas. 50-3/4" x 76-3/8".
Staatliche Museen, Schloss Charlottenburg, Berlin. [Fig. 11.10]
12. François Boucher. Madame de Pompadour.
1756. Oil on canvas. 79-1/8" x 61-7/8".
The Bridgeman Art Library. Bayerische Hypo und Vereinsbank, Alte Pinakothek,
Bayerische Staatsgemäldesammlungen, Munich. [Fig. 11.11]
14. Jean-Antoine Watteau. The Signboard of Gersaint.
ca. 1721. Oil on canvas. 5' 4" x 10' 1".
Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Verwaltung der staatl. Schlösser
und Gärden Kunstsammlungen. [Fig. 11-CL.1]
15. Peter Paul Rubens. The Signboard of Gersaint:
The Coronation of Marie de’ Medici by Rubens.
1622-25. Oil on canvas. 12' 11" x 23' 10".
Musée du Louvre, Paris. [Fig. 11-CL.2]
16. Jean-Honoré Fragonard. The Swing.
1767. Oil on canvas. 32-5/8" x 26".
Wallace Collection, London. [Fig. 11.13]
17. Henry Flitcroft and Henry Hoare. The Park at Stourhead, Wiltshire, England.
1744-65.
[Fig. 11.14]
18. Claude Lorrain. The Rest on the Flight into Egypt (Noon).
1661. Oil on canvas. 45-5/8" x 62-7/8".
Hermitage Museum, Saint Petersburg, Russia. The Bridgeman Art Library. Collection of
Empress Josephine, Malmaison, 1815. [Fig. 11.15]
19. Jean-Baptiste-Siméon Chardin. The Brioche (The Dessert).
1763. Oil on canvas. 18-1/2" x 22".
Photo: Hervé Lewandowski. Musée du Louvre/RMN Reunion des Musées Nationaux,
France. SCALA/Art Resource, New York. [Fig. 11.16]
20. Jean-Baptiste-Siméon Chardin. A Philosopher Occupied with His Reading.
1734. Oil on canvas. 54-3/8" x 41-3/8".
Photo: Hervé Lewandowski/ MusPhoto: Hervé Lewandowski/ Musée du Louvre/RMN
Réunion des Musées Nationaux, France. SCALA/Art Resource, New York. [Fig. 11.17]
21. Sydney Parkinson. Portrait of a Maori (later engraved and published as Plate XVI in
Parkinson's Journal.
1769. Wash drawing. 15-1/2" x 11-5/8".
The British Library, London. Add. 23920 f.55. [Fig. 11.18]
22. William Marlow. View of the Wilderness at Kew.
1763. Watercolor. 11-1/16" x 17-13/16".
Metropolitan Museum of Art, New York. [Fig. 11.19]
23. François Boucher. Le Chinois Galant.
1742. Oil on canvas. 41" x 57".
The David Collection, inv.B275. Photo: Pernille Klemp. [Fig. 11.20]
24. Qing dynasty. Yu the Great Taming the Waters.
Completed 1787. Jade carving. 7' 4-1/4" x 3' 1-3/4".
Collection of The Palace Museum, Beijing. [Fig. 11.21]
26. Elisabeth-Louise Vigée-Le Brun. Marie-Antoinette en chemise.
1783. Oi on canvas. 33-1/2" x 28-1/4".
Hessische Hausstiftung (Hessian House Foundation) Museum Schloss Fasanerie.
[Fig. 11.23]
27. Jacques-Louis David. Marie-Antoinette conduite au supplice
(Queen Marie-Antoinette on the way to the guillotine).
1783. Ink drawing.
DR 3599 Coll. Rothschild. Musée du Louvre/RMN Réunion des Musées Nationaux, France.
SCALA/Art Resource, New York. [Fig. 11.24]
Editor's Notes
Canaletto. London: The Thames and the City of London from Richmond House. Detail.1747. Oil on canvas. 44-7/8" x 39-3/8".Trustees of the Goodwood House, West Sussex, UK. [Fig. 11.1]
Christopher Wren. Saint Paul's Cathedral: Western façade.1675-1710.[Fig. 11.2]
Illustration from Robert Hooke's Micrographia, London, 1665: A flea.1665Courtesy the University of Virginia Library. [Fig. 11.3]
Illustration from Robert Hooke's Micrographia, London, 1665: A slice of cork.1665Courtesy the University of Virginia Library. [Fig. 11.3]
Joseph Wright. An Experiment on a Bird in the Air-Pump.1768. Oil on canvas. 6' x 8'.National Gallery, London. [Fig. 11.4]
Thomas Farnolls Pritchard. Iron Bridge, Coalbrookdale, England.1779. Cast iron.[Fig. 11.6]
William Hogarth. Gin Lane.1751. Engraving and etching. 14" x 11-7/8".Copyright The Trustees of the British Museum, London/Art Resource, New York. [Fig. 11.7]
Germain Boffrand. Salon de la Princesse de Soubise (Salon ovale), Hôtel de Soubise, Paris.ca. 1740. 33' x 26' ovoid.Photo: Bulloz. Reunion des Musees Nationaux/Art Resource, New York. [Fig. 11.8]
Charles-Joseph Natoire. Salon de la Princesse de Soubise, Hôtel de Soubise, Paris: Cupid and Psyche, painted section of ceiling.1738. Oil on canvas. 5' 7-3/4" x 8' 6-3/8".Peter Willi/The Bridgeman Art Library. [Fig. 11.9]
Jean-Antoine Watteau. The Embarkation from Cythera.ca. 1718-19. Oil on canvas. 50-3/4" x 76-3/8".Staatliche Museen, Schloss Charlottenburg, Berlin. [Fig. 11.10]
François Boucher. Madame de Pompadour.1756. Oil on canvas. 79-1/8" x 61-7/8".The Bridgeman Art Library. Bayerische Hypo und Vereinsbank, Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich. [Fig. 11.11]
Jean-Antoine Watteau. The Signboard of Gersaint.ca. 1721. Oil on canvas. 5' 4" x 10' 1".Staatliche Museen zu Berlin, Preussischer Kulturbesitz, Verwaltung der staatl. Schlösser und Gärden Kunstsammlungen. [Fig. 11-CL.1]
Peter Paul Rubens. The Signboard of Gersaint: The Coronation of Marie de’ Medici by Rubens.1622-25. Oil on canvas. 12' 11" x 23' 10".Musée du Louvre, Paris. [Fig. 11-CL.2]
Jean-Honoré Fragonard. The Swing.1767. Oil on canvas. 32-5/8" x 26".Wallace Collection, London. [Fig. 11.13]
Henry Flitcroft and Henry Hoare. The Park at Stourhead, Wiltshire, England.1744-65.[Fig. 11.14]
Claude Lorrain. The Rest on the Flight into Egypt (Noon).1661. Oil on canvas. 45-5/8" x 62-7/8".Hermitage Museum, Saint Petersburg, Russia. The Bridgeman Art Library. Collection of Empress Josephine, Malmaison, 1815. [Fig. 11.15]
Jean-Baptiste-Siméon Chardin. The Brioche (The Dessert).1763. Oil on canvas. 18-1/2" x 22".Photo: Hervé Lewandowski. Musée du Louvre/RMN Reunion des Musées Nationaux, France. SCALA/Art Resource, New York. [Fig. 11.16]
Jean-Baptiste-Siméon Chardin. A Philosopher Occupied with His Reading.1734. Oil on canvas. 54-3/8" x 41-3/8".Photo: Hervé Lewandowski/ MusPhoto: Hervé Lewandowski/ Musée du Louvre/RMN Réunion des Musées Nationaux, France. SCALA/Art Resource, New York. [Fig. 11.17]
Sydney Parkinson. Portrait of a Maori (later engraved and published as Plate XVI in Parkinson's Journal.1769. Wash drawing. 15-1/2" x 11-5/8".The British Library, London. Add. 23920 f.55. [Fig. 11.18]
William Marlow. View of the Wilderness at Kew.1763. Watercolor. 11-1/16" x 17-13/16".Metropolitan Museum of Art, New York. [Fig. 11.19]
François Boucher. Le Chinois Galant.1742. Oil on canvas. 41" x 57".The David Collection, inv.B275. Photo: Pernille Klemp. [Fig. 11.20]
Qing dynasty. Yu the Great Taming the Waters.Completed 1787. Jade carving. 7' 4-1/4" x 3' 1-3/4".Collection of The Palace Museum, Beijing. [Fig. 11.21]
Elisabeth-Louise Vigée-Le Brun. Marie-Antoinette en chemise.1783. Oi on canvas. 33-1/2" x 28-1/4".Hessische Hausstiftung (Hessian House Foundation) Museum Schloss Fasanerie. [Fig. 11.23]
Jacques-Louis David. Marie-Antoinette conduite au supplice (Queen Marie-Antoinette on the way to the guillotine).1783. Ink drawing.DR 3599 Coll. Rothschild. Musée du Louvre/RMN Réunion des Musées Nationaux, France. SCALA/Art Resource, New York. [Fig. 11.24]
![Canaletto. London: The Thames and the City of London from Richmond House. Detail.
1747. Oil on canvas. 44-7/8" x 39-3/8".
Trustees of the Goodwood House, West Sussex, UK. [Fig. 11.1]](https://image.slidesharecdn.com/sayrech11images-140429082813-phpapp02/85/Humanities-100-Sayre-ch11-1-320.jpg)
![Christopher Wren. Saint Paul's Cathedral: Western façade.
1675-1710.
[Fig. 11.2]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)