Brent Corrigan And Brent Everett For Mobile

BLANCA Miguel de Presqueiras Forcarei (Pontevedra) from 1896 to 1948

Portrait of Dolores Espino Blanco. Cousin of the painter. Oil on canvas. 49 x 41 cm. Museum of Pontevedra. Donation News Family Vineyards. Spain.

Encabezamiento blog: From Verbena (The Gypsy).

GARDEN PARÍS.1931. Oil / card. 46 x 38 cm. Museum of Pontevedra. Paul. Spain.

Combarro. 1930. Oil / card. Collection of Family Vineyards News.

LA Villeta, Paris. 1929. Oil / card. 46 x 37.5 cm. Private Collection.

Horseshoe Ride. SANTIAGO. Oil on canvas. 79.5 x 64.5 cm. Consortium of Santiago. Deposit of the Municipal Museum in Santiago de Compostela. Spain.

Quinta da Torre de Agrelo. Redondela. Oil / tabla. 38 x 46 cm. Collection of D. Javier Iturria.

VIEW OF PARIS. Oil / card. 38.1 x 46.1 cm. Private collection.

GARDEN OF LUXEMBOURG. PARIS. 1929. Oil on canvas. 36 x 44 cm. Museum Castrelos Vigo. Vigo. Spain.

Garden. 1930 to 1932. Oil on canvas. 73 x 60 cm. Private collection.

NA Ovella

MOUNTAIN. Oil on Lenz. 44 x 50 cm. Private collection. BIOGRAPHICAL LIST

.

Virxilio born in Forcarei Blanco Garrido (Pontevedra) in 1896. He had a restless personality, little known in the plastic Galician media, for now, still very partial and low valuation.



was very young he emigrated to Cuba, where he began painting. He returned to Europe and lived in Madrid and Paris. In Paris he learned all the ways that characterize the post-impressionist landscape, seemingly careless and yet so full of sensibility.


He made few exhibitions, mainly in Vigo and Santiago de Compostela. His intellectual curiosity led him to found the magazine with Caldera Manzano dawn. He was a fellow of the Provincial de Pontevedra for a second stay in Paris, but this aid has not been renewed. Independence leads to a bohemian lifestyle and difficult, with periods of real misery. The post-civil war years are very difficult, with little appreciation for their innovative work, died almost forgotten. A reconocimieto takes place late in 1975 when a group of artists, friends and fans dedicate a headstone in the cemetery of his native parish, where his remains lie.


Virxilio White paint is much more French than even the Galician and English. Is identified with an intermediate stage of his countryman Colmeiro, although of Forcarei goes strictly to the landscape, with no human elements. Draw with the brush directly in lumpy spot, firm and sensitive. What apparent lack of perfection in his paintings he makes the sensitivity, as with other great painter near contemporary, Hernando Vines.
is represented in museums importamt Galicia and private collections. It is likely that much of his work was divided into houses of friends los de los descendientes supieron not appreciating every experience.
(obtenida Information from Wikipedia)


Cuadros Source: Wikipedia and The City of Painting.

self-portraits. Oil / Cartón on the enzyme. 27 x 20.5 cm. Colección particular.

What Buttons On A Pursuit Car Remote

Ramon Tusquets I Maignon. Barcelona 1838 - Rome 1904-First Impressionism.

TO JOHN Fiveller Ferdinand. Box (Ramon Tusquets).
John Fivaller r requires Ferdinand to pay the vectigal beef (Ramon Tusquets and Maignon 1885


VECTIGAL confrontation. (At the end of the post there is a small vocabulary.)

The vectigal confrontation was the claim made in 1416 by the then Minister of Barcelona Joan Fiveller second to Ferdinand And to pay the right vectigal on meat buyers acquired the monarch of the House in the city, which the king intended to be exempt.

Ferdinand, Prince Regent and Castella, was elected sovereign of the Crown of Aragon by the Compromise of Caspe in 1412. Accustomed to the English context, where the historical process towards an authoritarian monarchy progressed unstoppable and little accustomed to the pacts, which the Crown of Aragon had managed to stop it out of estates, the new monarch had some clashes with the institutions of their new states, controlled by the latter, especially with the Principality of Catalonia more developed than other regions. As soon as the reign began, the courts of Barcelona of 1413 marked the spot claiming the authority of the General Council to "enforce the laws to the king and his officers" just like everyone.

In this context of concern for the arbitrary ranks of royal power in February 1416, King Ferdinand I pretended to be free of the constraints on supplies that buyers acquire their court. In an emergency meeting, the Council decided to send the king a hundred committee, headed by director John Fiveller second, yourself, to demand payment. King ended up ceding to avoid further tensions and confrontations.
This battle between authoritarianism and monarchical ranks has been welcomed by the historiography mythified latter (Peter John Comes in the sixteenth century) and, in particular for the revival. Over and over there wanted to see a heroic episode in favor of freedom (municipal) and the latter, moreover, an act of domestic demand, interpretations least matisables they also transcend the literature and the arts. Within these interpretations, the death of Ferdinand, which occurred in April of that year, we have tried to link for free on the anger that provoked the confrontation him.


Header Post: "DEATH OF SISARÀ.

BATTLE
the Gulf of Naples. Roger captures the Prince of Salerno, Charles of Anjou.
Box (Ramon Tusquets).




The Battle of the Bay of Naples was one of the battles of the War in Sicily

After victory in battle of Malta Roger with the galleys own captured and led the Angevins attacking the Calabrian coast and Naples Posilipo. Finally, in the absence of Charles I of Anjou and the Prince of Salerno armed a flock and went to battle.

THE BATTLE.
On 5 June 1284 [2] Roger of the fleet was attacked near Naples by the Angevin under the command of Charles Salerno of the lame, and after a first contact Roger pretended to withdraw any to Castellamare but stopped at once to start the battle in the midst of the waters of the Gulf of Naples.

The Catalan fleet, armed soldiers used to combat and skilled in naval maneuvers that the French courtiers and knights were the galleys embestir enemy, except the top ten led by Henry de Mar, who escaped being captured by the Catalans finally dams and ships. Meanwhile they will fight fiercely to the galley of Capua, commanded by Charles of Salerno, until Roger berrenar then sink to the galley and the French surrendered.

CONSEQUENCES. In early 1285
died in Foggia Charles I of Anjou, and Charles II was proclaimed successor to the lame but it was still a prisoner of Catalans acted as regent for his nephew Robert Artois and Gerard of Parma. Charles II was released under treaties and Oloron Canfranc and was crowned in Rieti on 29 May 1289 received the title of Pope Palermo and Charles King of Sicily, and signed a truce for two years.

ITALIAN LADY. Watercolour on role. Ramon Tusquets.

Óleo on Lienz. Ramon Tusquets.

the Prince of Viana ENTRY IN BARCELONA. Box (Ramon Tusquets).
BACKGROUND.
field during the thirteenth century and early decades of the fourteenth century, was crowded. The Old Catalonia, with a predominance of scattered hamlets, cultivated any land.

production remained abundant and stable. The nobles, the Church and bourgeois invested some money in the creation of farms and production units were split in order to get more tenants or tenants. But
fourteenth century began a crisis due to mortality (basically the black plague) and the migration towards the city, which caused a decrease in the population field. This led to decreases in cultivated land, and consequently the income of the lords. To counteract this decrease in revenue, increase pressure on farmers with the consequent discomfort.
The abandoned farms (farms rònecs) are becoming common and farmers around who still resist, occupy and exploit their own, strengthening their power and strength against the feudal lords.

fifteenth century. CHANGES START.

royal position in the turn of the century, both John I (1387-1396) as the Humane Martin (1396-1410) and wife, Maria de Luna, the royal policy was oriented towards peasant pleas for freedom and abolition of abuse.

But the death of Martin the Humane childless, s'entronitza as king of the Confederation of Catalonia-Aragon, Ferdinand through the commitment of Caspe. Encouraged
lords with dynastic change, take advantage of the Courts of Barcelona in 1413 by Ferdinand I of Antequera convened to address the economic demands of the monarch in exchange for getting compensation for wrongs suffered and the adoption of the constitution antiremença that to allow Mr Peace and Truce to chase the farmer to leave the house and who, after change of address, tried to keep their rights to land and threatened the lords and new farmers (in reference to that occupied by third parties and operated farms rònecs). The 1413 is given within one year to sell or transfer the land to vassals sir.
During the reign of Alfonso the Magnanimous (1416-1458), the Courts of Tortosa in 1430, the Lords stated that "the peasants had to continue living as they had always done and had no right to proclaim their freedom "and the Church believed that farmers had to continue paying the same rights as paid before the" unfair demand for freedom ".

Vasallo OF THE SITUATION.
The vassals had to live on land that grew no possibility to leave it without permission of the lord. They could not sell their properties, and if he died without testing or childless, a third of its assets ended up in the hands of the lord. The farmer's wife and daughters could be used in the home of Sir if so decided, who also had right thigh (prima nocte).


Remença UNION AND THE PREPARATION OF THE WAR.
The tensions that are manifested between lords and remences, the crown and the need to limit the power of the nobles, advises King Alfonso from Naples, to dictate 1 July 1448 a royal provision, which allowed farmers meetings, regarding the elimination of abuse and raise funds to pay the king his speech.
For this purpose, constituted a major union remença that during the biennium 1448-1449 had over 400 meetings controlled by a royal official.
Provincial General defended the interests of the lords, and in January 1449 in Naples sent embassies to talk to the king, opposed the decision to be made public and royal officials who ordered the arrest preach.
collaborates actively with the Council, the high nobility, high clergy and the Consell de Cent, the leaders of which the municipality itself and owners are farmers remença.
Despite the ban, were the meetings, but the offer made by farmers fell short in front of 400 thousand guilders offered to the Parliament in 1452. New counter
farmers and the refusal of Parliament to give effect to aid the monarch while not return to Catalonia led him to support the new remences and suspend provisionally the abuse and servitude until they reached an agreement.
On January 14, 1455, issued the ruling lnterlocutòria that after a new cancellation was confirmed in 1457 when King announced that he definitely resigned to return to Catalonia and received aid offered by the Courts.
economic needs alone do not explain the performance of Alfonso the Magnanimous, which would have been easier to understand that the gentlemen farmers. What was at stake was the political power of Catalonia that is discussed is the royal authority, which may not be effective for more money being given to the monarch until he recovers the royal heritage and ancestral power is not reduced.
On 27 June 1458 died suddenly on King Alfonso who is succeeded by his brother John II who had presided over the Constituent Assembly in 1454 in his capacity as lieutenant general of the Crown of Aragon, who had given his brother .



REVOLT THE CIVIL WAR AND Remences CATALAN: TWO REASONS TO COMMON ENEMY.

memorial to Amer. In this monastery, 8 November 1485, the trustees remences sign the promise to accept the arbitration of King Ferdinand II in their conflict with the feudal lords. The town remembers the 500th anniversary of the events. Amer, 8 November 1985 See specific items: remences War - Civil War Catalan

John II had a confrontation with his son, Charles of Viana by the crown of Navarre. Charles enjoyed the protection of his uncle Alfonso in Naples. The death, provides for the imprisonment of Charles John II Viana. The Catalan Corts Lleida assume his defense when it is imprisoned in 1460, confronting the king.
death in 1461 of Prince Charles, was the spark that causes the onset of civil war between the Catalan Council of General John II. Meanwhile, make the next King remences and start a revolt against the nobility, and therefore against the Council supported. The revolt was led by Francis Verntallat from Hostoles and acted mostly in the mountains. However, when, ten years later on 28 October 1472, John II comes to Barcelona, \u200b\u200bwon the war and the capitulation was signed Pedralbes, did not abolish any easements or bad uses.
result of a feeling Abandonment of claims remences crown, in 1485 a second revolt broke out led by remença remença radical Pere Joan Sala. Crushed the revolt, Ferdinand II, son of John II, ruled the arbitration ruling of Guadalupe (1486). This statement misuses redeem payment for more than 60 salaries and abolishing the right to abuse and many other abuses under manor. The peasants were more useful to keep the domain, but had to pay tribute to Mr. and buildings expenditure and feudal rights.

remença The farmers were at the limit of endurance of unjust servitude.




VOCABULARY:
això - this

altres aleshores-then-other-Angevin Angevins

Aquest pols - this pulse

avesat-cap used to - making CeDInt-yielding


Coix-lame conreava-grown
consequüentment-accordingly.
Davallada-descent. Desenvolupades-developed

dret de Cuixà-droit de seigneur
(prima nocte.)
in mig - amid anger

enuig-eixir-hi - leave them
encapçalada-headed
enfonçar-la - sink
enuig-anger
it will close up tight in sec-suddenly stopped
esclafada-achafada, drowned
Esclat-burst-event
esdevinguda
Estol-square, set of vessels.
exempt-exempt.
Feu - made

fins fer-how-to-drive foragitar

Gaudio-
enjoyed guspira greuges-wrongs-spark

has Restat
Hague, has been dedicating-it-had to devote
llavors-time
free-free-Lieutenant Lieutenant

their same-same-
his nephew
-Sobrino
Peace and Truce, Peace and pretended to remove
pretendió
-coming-any-any

nearby grocery-nurseries
support SUPPORT
s 'wanted to have Dear

suddenly without-sin-
suddenly under - under
well as soon-to-all

everyone except-except, except.
was - was

RAMON Tusquets and Maignon. a portrait of Ramón Martí i Alsina.

PAINTER burial of Mariano Fortuny. (R. Tusquets).
biographical sketch of Ramón Tusquets:

He had to devote themselves to trade until the death of his father. Format time in Madrid as a painter, went to Rome (1865) in the company of JLPellicer.

funeral Fortuny, Ramon Tusquets and Maignon - © Fototeca.catAllà settled and made friends with Mariano Fortuny, the funeral which is painted in oil that his masterpiece (1874, Museum of Modern Art Barcelona), of great courage and ability synthesis. He painted landscapes, luminous, well built and close to the first impressionist, but his name has remained linked to works of realism retailers and anecdotal history of topical paintings, such as Catalan-themed series of James I, Roger, Fiveller , Prince of Viana and Peter the Great, who painted in 1885-86 by M. Boada Barcelona. Exhibited at the Sala Parés Barcelona, \u200b\u200bMadrid, Naples, Turin, Paris and Vienna.






















                                               

Peasant. (Campesina.)



NOTE. The painter Ramón Tusquets made these works on the History of Catalonia, which, I think you make interesting reference.
SOURCES:
Pictures and text taken from Wikipedia.

Why Did You Need To Transfer The Metal

Ramon Martí i ALSINA. REALISM s. XIX Barcelona 1826 - 1894

The pier fishermen of La Barceloneta. 1885. Oil on Lienz. 97 x 200 cm. Museum of Montserrat

EVENING 1882

fishing boats. 1880-1888. Oil on canvas. 100 x 159 cm. Carmen Thyssen-Bornemisza. Collection

Snow on the terraces. 1883. Oil on canvas. 44 x 81.5 cm. Montserrat Abbey

GRANOLLERS CAMÍ. Oli on canvas. MNAC. Museu Nacional d'Art de Catalunya.

View of Barcelona from the top of the Riera de San Juan. 1889. Oil on canvas. 44 x 57 cm. Museum of Modern Art de Catalunya.

The Albada. The wheat harvest. 1878. Oil on canvas. 35.9 x 89 cm. Library Board. Museum of Montserrat

A bend in the river Besos. 1880-1890. Oil on canvas. 137 x 196.5 cm. Montserrat Abbey

Ruins of the Church of Holy Sepulchre in Estella (Navarra). 1862. Oil on canvas. 71 x 124 cm. Modern Art Museum of Catalonia

Self

. 1863. Oil on canvas. 115 x 85.5 cm. Montserrat Abbey

portrait painter Ramón Tusquets. 1865. Oil on canvas. 124 x 74.5 cm. Montserrat Abbey

Niña pitcher. Romantic Museum in Madrid

Tigre. 1870-1880. Oil on canvas. 84 x 208 cm. Montserrat Abbey

THE Bornet (Market Square) MUSEUM OF MODERN ART BARCELONA

Els setgid. (Protection of Gerona, against the French in 1809). h. 1865 Oil on Lienz, 45.5 x 84 cm. Art Museum of Girona.

THE GREAT DAY OF GIRONA. The big day
Girona oil painting is a large (496 x 1082 cm) and performed by Ramon Marti Alsina. It is evidence of the date on which he painted the work, but experts place it between 1863 and 1864. It is the biggest piece of easel painting in the history of Catalan. Part of the collection of the National Art Museum of Catalonia and is now exhibited in deposit at the headquarters of the Generalitat of Catalonia Girona, Hospital of the ancient church of Santa Caterina.

As for the spectacular size of the work, scholars suggest that it could be a way to compete against The battle of Tetuan by Mariano Fortuny, the result of the commission that he had received from the Provincial Barcelona to portray the war in Africa.
In 1938, during the English Civil War, the panel was the victim of a bombing while he was exposed to the Palace of Fine Arts. Once the war and waiting for a restoration, the painting was rolled up and stored in one of the rooms reservation MNAC, where he stayed about 70 years awaiting restoration, carried out between 2009 and 2010.

pointed biographies.

Ramon Marti i Alsina (Barcelona, \u200b\u200b1826 - 1894). Catalan realist painter, considered the most important figure in artistic realism of Spain, to the extent that Martí i Alsina is part of the latest European trends and groundbreaking at the time.

Ramon Martí i Alsina revolutionized the stale English art of the nineteenth century. Was the true creator of the Catalan landscape school and pioneer of modern painting in Spain, advocating, well before even Carlos de Haes-study, observation and natural reproduction. He was also master of an entire generation of writers, including names of both relief and Modest Urgell Simó Gómez, Joaquim Vayreda, Baldomero Galofré, José Luis Pellicer, Lluís Armet and Francesc Torrescassana.
Born into a poor family, lost his father at age eight, from this age under the authority of his godfather, who from the outset opposed the development of artistic ideas of the young Ramon. On the advice of his godfather, he studied philosophy, but at the same time he enrolled in night classes at the Escola de Belles Arts de Barcelona Llotja.
His first steps as a painter and illustrator gave the town of Mataró, where the family was originally from his mother. There he began to carve out a reputation as a portraitist between the local bourgeoisie, defined the first stage of a naturalistic objectivism and alien to the official dogmas.
By this time, is fixed in nature as a direct inspiration, going to paint the holidays in the mountains and coasts of the Maresme region, seeking subjects for his landscapes and seascapes. Martí i Alsina shown in this way as a copyright holder of an artistic flair and fresh from his early years manifested corsets opposed to the prevailing official.
In 1848 he traveled to Paris, where he visited the Louvre, where he became familiar with the works of authors such as Horace Vernet and Eugene Delacroix. Later know the work of Gustave Courbet the major international exponent of realism and the work of the Barbizon School.
In 1850 he married Charlotte Aguilo, after which time further his career as an artist takes hold. In 1852 the chair of design at the Escola de Belles Arts de la Llotja of Barcelona, \u200b\u200band two years later would provide figure drawing. It is dedicated to teaching preaching realism and capturing natural, especially in the landscape. Repeatedly travels to Paris and Holland. Attracted by the thought
positivist and progressive currents, republican and anticlerical, identified with the revolutionary ideals of 1868. During the reign of Amadeo resigned in their teaching at the Ecole de la Llotja for political reasons. However, with the arrival of the First English Republic and under the leadership of President Francesc Pi i Maragall, was reinstated in office.
The first major exhibition in which Martí i Alsina participated was the General Exhibition of Fine Arts in Barcelona in 1851. Since that time, participate in various exhibitions in Barcelona and Madrid or Paris, several of which were awarded. He was even invited to the 1889 Universal Exposition in Paris.
In the seventies, and while his work through one of his best, his life begins to suffer various disasters at personal. In 1872 children die almost simultaneously Camilo and Charlotte, and in 1878 lost his wife. At the same time, significantly indebted, to the point he had to multiply its production and work in different workshops (got to have open seven at the same time), almost industrial. Remarried Francisca Chillida, but economic difficulties and will acuciarían until his death.
However, he spent much of his life obsessed with ending the cycle of the War of Independence and the making of Gerona to begin around 1865 with paintings like The tocsin of the Bruch, the Society of Santa Barbara and the siege of Gerona of 1809 (Museu d'Art de Girona, Barcelona) the last of which, unfinished, is by itself one of the most accomplished historical paintings of the nineteenth-century English painting.
His works reflect the basic premise of portraying realistic reality thoroughly, without idealization or unnecessary embellishments. His work can be divided into three stages: from 1850 to 1870 in its initial period, from 1870 to 1880 full intermediate stage, and from 1880 until his death in 1894, with his most prolific and less careful.
Among the topics are many landscapes and seascapes, cityscapes (particularly Barcelona), portraits and human figures (the siesta, 1884, Museu Nacional d'Art de Catalunya, Barcelona, \u200b\u200bis perhaps his most known), genre scenes, nudes temperament (are much more scarce and even male children, as the boy from behind Naked, private collection, Barcelona) and history paintings and biblical scenes (like David and Abigail, and Rebecca and Eliezer Both in the Museu Nacional d'Art de Catalunya, Barcelona). Rarely is devoted to still life, but also painted some of them.
Eventually Martí Alsina was adapted to the new currents of Impressionism, as seen, for example, in the view of Boulevard Clichy. That's why some critics consider it an eclectic artist that can not be ascribed to any pictorial trend concrete.
Despite the importance of his work, this is still poorly studied and a painter whose work has still to be valued in all its dimensions.
(Information obtained from Wikipedia)

Sources for tables: The City of Painting, Wikipedia, and Orozco Xerbar Forum. Sources
texts: Wikipedia.

What To Substitute For Wax Strips

WHAT COULD LEAD TO NUCLEAR ACCIDENT IN JAPAN.? - Blogpost by CARLOS BRAVO.

March 12, 2011 at 20:21
From Greanpeace want, first, to express our condolences to the families of the victims of the terrible earthquake suffered by Japan.

We are deeply concerned about the possible consequences of the earthquake and tsunami may have about the safety of nuclear facilities in Japan and other hazardous industries such as oil refineries or chemical plants, and their potential effects on public health and the environment.
The situation in several nuclear plants, particularly in the Fukushima-1, is concern. Fourteen nuclear power plants located on the northeast coast of Honshu, the main island of Japan, are closed, probably all of them badly damaged as a result of yesterday's earthquake, of magnitude 8.9 on the Richter scale. Japanese plants, a country with very strict requirements for resistance to seismic hazards, were designed to withstand earthquakes of intensity than 7.5. The strength of that hit Japan yesterday is more than 10 times.
At the beginning of the earthquake, those nuclear power plants were taken to stop situation. But, and this is one of the drawbacks of a technology as dangerous as nuclear, the risk of an accident does not end there, since even with central stop, the nuclear fuel is still active, still nuclear reactions, in addition to radioactivity, they generate much heat. Yet in a position to stop, for further cooling the reactor core, nuclear fuel, for many hours, to avoid a nuclear accident.
The emergency cooling systems of the reactor core can run on electricity. But the earthquake affected the external power plant in Fukushima-1 and 2 (at least these two), leaving them with no power supply, which is called in the jargon of a nuclear black-out station. In that case, should have come into operation immediate emergency diesel generators of the plant. But these, perhaps because of the earthquake, did not work. So began the countdown.
nuclear fuel, without being actively cooled, began to overheat. The water inside the reactor vessel began to evaporate, the vapor pressure builds up inside the vessel, fuel to stay in the open, without water to cool it. It is the beginning of a LOCA (Loss of Coolant Accident), the loss of coolant accident, the worst that can occur in a nuclear plant. Of those, according to the nuclear industry, can never occur.
The first hours are critical, if no action can be reaching a meltdown situation (when the metal rods that hold the uranium fuel pellets melt, melt and mix with the highly radioactive nuclear fuel) and then released in large amounts of radioactive isotopes that are in the fuel. Fukushima-1 is a reactor like Garoña (Burgos), with a lousy support system.
In the absence of external power supply is a much lower capacity system that works with its own battery supply. Thus, for example, try to use the condenser water to cool the core, to buy some time while waiting for diesel generators that were to bring the U.S. military. But this move has a very limited and failed to reverse the situation. The hours passed and the nuclear fuel was running short, at least in part, without water around it: the dreaded meltdown.
With increasing temperature, increased pressure within the vessel. So those responsible for central and, presumably, Nipponese authorities decided to open the relief valve and releasing radioactive steam to the outside atmosphere to lower the pressure, with the idea of \u200b\u200bavoiding a major disaster. From these facts and no doubt. Until the English Nuclear Safety Council (CSN) is now recognized that nuclear power plant in Fukushima-1 are deliberately forced to escape to the atmosphere of gases from the reactor radioactively contaminated. Radiation levels in the area have risen, according to sources, between 300 and 1,000 times higher than allowed. It was not ordered to evacuate the population, 45,000.
course, any amount of radiation released into the atmosphere threatens the health of local people, public health and the environment. What is already clear is that in Fukushima-1 have clearly failed the physical protection measures designed to isolate the radioactivity of the environment.
addition, an explosion on Saturday morning (English hour) in Central seems to have seriously damaged the secondary containment structure and there are conflicting reports about whether any part of the structure has collapsed.
The situation of the reactor is critical and not yet controlled, at the time of writing. The final amount of radioactive release will depend, of course, it can stabilize the reactor, and can cool the core. At present, it seems already clear that the accident could be because of the seriousness of what happened at Three Mile Island (USA) in 1979, the second worst in the history of the nuclear industry, only after the catastrophe Chernobyl.
Despite all the uncertainties caused the lack of information, caused in part by the logical chaos in the country but also for nuclear secrecy of the authorities, we face a scenario in which there may be a massive release of radioactivity from the Fukushima-1 reactor.
the moment, we can not exclude that the situation is likely to move towards a full merger of the central core, as occurred in Chernobyl. The whole process could go too fast or take several days, depending on the state of the cooling system. The consequences of such an accident would be tremendous, as was found in Chernobyl.
In fact, it seems the Japanese government is expanding the evacuation zone to a diameter of 40 kms. around the Fukushima Daiichi nuclear complex (where the reactor Fukushima-1 and other 5) and has established an exclusion zone of 20 km around the Fukushima-Daini plant (with 4 reactors). This indicates an immediate threat not only around the Fukushima-1 reactor, but the situation is not entirely under control in other reactors and could reach more accidents occur there too.
The uncertainty about what is happening in Japan's nuclear plants requires some caution when considering future scenarios. However, one conclusion is clear: nuclear reactors are inherently dangerous.
nuclear industry tells us that accidents like this can not happen with modern reactors, but now Japan is in the midst of a crisis with potentially devastating consequences because of nuclear energy.
The truly clean energy, renewables, not create problems of national security. And natural disasters do not add one more problem to a population already hard hit by the force of nature. Nuclear power can not be included, as many claim, a clean energy model, safe and sustainable.
Carlos Bravo, Head of Energy Campaign Greenpeace

- Blog: With the latest updates. Http://www.greenpeace.org/espana/es/Blog/actualizacin-terremoto-en-japn/blog/33684

- Press Release March 12, 2011 http://www.greenpeace.org/espana/es/news/escape-radiactivo-en-el-reactor-nuclear-de-Fukushima/

Source: GREENPEACE extracted from the Blog.

Lose Inches Fast Preperation H

TSUNAMI IN JAPAN. Text source: blog "letters and other ideas." / Photo Source: Diario El País. WALTON FORD

March 11, 2011 TSUNAMI IN JAPAN


simply to express my solidarity and raise a prayer for the people injured, missing and dead place.
also pray for the welfare of the inhabitants of the coasts are threatened hoping that the authorities have been alert and shelter to them.
http://ideasletrasyotros.blogspot.com/

Ginger Cross True Babes

. White Plains, New York, 1960 - Naturalist. CLAUDE MONET

2,000
Nila Walton Ford, the resurrection of the naturalist
by Rafael Cabrices
Osío
When Brooklyn Museum opened in 2006, a sample of the work of ten years of the American painter Walton Ford (White Plains, New York, 1960) gave his best wall to one of his most impressive, Nila (2000). Ford drew on it an Asian elephant with an erection long sinuous, marching with crazed eyes while flying and pecking birds of different species. Some are trampled by the monster, others try to save him. A pair of woodpeckers bore their flanks, a vulture waiting time to open the legs, an owl rests thoughtfully on his neck. The elephant carries the broken tip of a spear wound to the trunk and tusks has halved. He is a rebel from watery eyes, beset by parasites colorful. A few notes in cursive handwriting, nineteenth century, identified some of the birds constellate around him, along with a sketch of a large mammal that can only be seen nearby.

The work is the size of a real elephant, 365.8 by 548.6 centimeters, and is divided into twenty-two rectangular panels, all different size and proportions that are stuck side by side. This construction has, of course, the fable of the blind men and the elephant and his tale about how little can be consensual reality. But the strangest thing is that Nila, like almost all the paintings of this artist, is a watercolor on paper. Ford practiced the same techniques of artists naturalists of the Enlightenment, European expeditions that accompanied each new conquered territory to produce knowledge which then produce ivory, charcoal, diamond or sugar cane. As those pioneers of painting au plein air which swept his brush in forests full of malaria or wetlands frequented by carnivores -Especially the ornithologist John Audubon, whose style is the most quoted by the remote-inherit him, Ford uses the pen, a meticulous drawing with pen and then subsequent layers of color with watercolors, all with the stylized realism of the eighteenth century that of before the picture. Their representation is anatomically incontestable. But, unlike the explorers thus documenting the nature, Ford does not work to keep track of a newborn is classified biodiversity or landscape painting to the specimen or bleeding. He collects both ideas and images in a forest of readings that cover the floor of his studio.

Taschen published a book large format brings together the work of Ford from 1991 to 2008, Pancha Tantra, personally cured by Benedikt Taschen. Nila and there are many other large pieces, such as Loss of the Lisbon Rhinoceros (2008), showing the last moments of a rhinoceros that sinks in chains on board a ship, and watercolors, smaller, and the strange Cuban number of macaws leaving broken bottles, with titles such as The History will absolve me. Abundant violence and death: a relentless Darwinian competition in which young often end up with the greats. No need, however, irony, and in NGO wallahs (something like the messengers of the NGO), in which a Maribú Indian bald head looks at four brilliant European birds sharing a bag of Hershey's chocolate. An appendix reproduces the texts engendered certain pieces, among them the story of a runaway leopard zoo wandered for ten months in the Swiss Alps until the shot a peasant or passage of a biography of Captain Richard Francis Burton described his court of apes in the Punjab, the subject of the magnificent scene of chaos that covers the tops of the edition, The Sensorium (2003).

Ford distills the legacy of the golden age of colonialism that serves iconography to develop a commentary on globalization, in a way that makes it distinctive and original miraculously in the vast diversity of contemporary art. In addition, it achieves the not inconsiderable feat of being political without being bum, of causing inadequacies without losing the authenticity. Naturally, the possibilities are very broad interpretation of a painting so disturbing and so generous in symbols, allegories to contained forward your eloquence, waving vague meanings to the viewer without ever engaging in explicit enunciation. In the essay that opens Pancha Tantra, Bill Buford noted that all the birds that peck at the elephant habitat Nila are outside the South Asian the elephant, except one, a green parrot that undergoes a shrike on the tip of the penis of the elephant. Buford says the painting is a version of George Orwell's testimony when he had to mow down an elephant, a young man in Burma, and the birds represent that the British imperial story. But one can think of many references in Edward Said's Orientalism or the accounts of Pankaj Mishra or Paul Theroux on the Western fascination with the swamis of Varanasi. Buford himself admits he can not believe that there is another living painter "with so much to tell." In fact, each of its images can release several possible histories. But after going through the different layers of reading and Walton Ford builds excitement in his watercolors, what is vibrating in people approaching your work is something more than evidence of his talent: the despair that gives us the encounter with a monkey that looks too much like us, but that is caged and wounded, looking as if it has a great truth that we are unable to understand. ~

(Walton Ford, Loss of the Lisbon Rhinoceros, 2008)

The chronicle of the event represented by Walton admirably summarized in these few lines:

"May 22 1515, Indian rhinoceros, from the Far East landed in the port of Lisbon, after a voyage of 120 days. It was a gift from the Sultan Muzafar II, ruler of Cambay (Gujarat today) to Alfonso de Albuquerque, governor of Portuguese India, who in turn decided to give it to King Manuel I of Portugal. It was the first time a European ground rhinoceros stepped over a thousand years, and the arrival of the animal caused a sensation. . (...) Pleased with your pet, the king decided, in turn, give it to Pope Leo X "(...) The rhino, it was shipped in December 1515 along with other exotic gifts to Rome. During the trip, King Francis I of France was able to admire the animal on its way to Marseille. However, when passing off the coast of Liguria, in Italy, a storm wrecked the ship and chained, the unfortunate beast could not swim and drowned. His body was recovered off the coast and leather sent to Lisbon, where he was stuffed (...) "

One of the most popular paintings by attending the opening of the exhibition has been titled 'Baba.BG' , which represents how a bird attempting to feed their young after having caught a fish which in turn trying to protect their own children.

SPACE MONKEY.

BIOGRAPHICAL NOTES.

Walton Ford was born in 1960 in the United States, and from an early age became interested in natural history exhibits in New York, I used to attend regularly, as already explained at the press conference prior to the inauguration of exposure. (An exhibition held in Berlin, called "Beasts.")

Ford, who said "excited" by presenting this collection for the first time in Europe, explained that his paintings do not purport "cruelty", but to show "how human beings can imagine the nature," beyond the teaching of the naturalists.
In total, four are the months in which this exhibition, which mixes the animal with the human subconscious, you can visit in Berlin, and after travel undertaken to address the Austrian capital, Vienna.

This table is related to the extinction of the Dove "MARTHA" because of persecution by humans. Http://lanaturalezaquenosqueda.blogspot.com/ I review the blog of Javier 16 that explains it detail.