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{{Infobox artist
| name = Berthe Morisot
| image = Morisot berthe photo.jpg
| caption = Berthe Morisot
| birth_name = Berthe Marie Pauline Morisot
| birth_date =
| birth_place = Bourges, Cher, France
| death_date =
| death_place = Paris, France
| resting_place = Cimetière de Passy
| nationality = French
| field = Painting
| training =
| notable_works = {{bulleted|Summer's Day|The Cradle|View of Paris from the Trocadero|After Lunch}}
| movement = Impressionism
| works =
| spouse =
}}
Berthe Marie Pauline Morisot (; January 14, 1841 – March 2, 1895) was a French painter and a member of the circle of painters in Paris who became known as the Impressionists.

In 1864, Morisot exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris. Her work was selected for exhibition in six subsequent Salons until, in 1874, she joined the "rejected" Impressionists in the first of their own exhibitions, which included Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir and Alfred Sisley. It was held at the studio of the photographer Nadar. Morisot went on to participate in all but one of the following eight impressionist exhibitions, between 1874 and 1886.

Morisot was married to Eugène Manet, the brother of her friend and colleague Édouard Manet.

She was described by art critic Gustave Geffroy in 1894 as one of "les trois grandes dames" (The three great ladies) of Impressionism alongside Marie Bracquemond and Mary Cassatt.

Early life

Morisot was born January 14, 1841, in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect (senior administrator) of the department of Cher. He also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard, one of the most prolific Rococo painters of the ancien régime. She had two older sisters, Yves (1838–1893) and Edma (1839–1921), plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child.

It was commonplace for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could each make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where from 1858 they learned by copying paintings. The Morisots were not only forbidden to work at the museum unchaperoned, but they were also totally barred from formal training. Guichard also introduced them to the works of Gavarni.

As art students, Berthe and Edma worked closely together until 1869, when Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, and had less time to paint. Letters between the sisters show a loving relationship, underscored by Berthe's regret at the distance between them and Edma's withdrawal from painting. Edma wholeheartedly supported Berthe's continued work and their families always remained close. Edma wrote "… I am often with you in thought, dear Berthe. I'm in your studio and I like to slip away, if only for a quarter of an hour, to breathe that atmosphere that we shared for many years…".

Her sister Yves married Theodore Gobillard, a tax inspector, in 1866 and was painted by Edgar Degas as Mrs Theodore Gobillard (Metropolitan Museum of Art, New York City).

As a copyist at the Louvre, Morisot met and befriended other artists such as Manet and Monet. In 1861 she was introduced to Jean-Baptiste-Camille Corot, the pivotal landscape painter of the Barbizon school who also excelled in figure painting. Under Corot's influence, she took up the plein air (outdoors) method of working. By 1863 she was studying under , another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, but none of her sculptures is known to survive.

 Main periods of Morisot's work

 Training, 1857–1870
It is hard to trace the stages of Morisot's training and to tell the exact influence of her teachers because she was never pleased with her work and she destroyed nearly all of the artworks she produced before 1869. Her first teacher, Geoffroy-Alphonse Chocarne, taught her the basics of drawing. After several months, Morisot began to take classes taught by Guichard. During this period, she drew mostly ancient classical figures. When Morisot expressed her interests in plein-air painting, Guichard sent her to follow Corot and Oudinot. Painting outdoors, she used watercolors which are easy to carry. At that time, Morisot also became interested in pastel.

 Watercolorist, 1870–1874
During this period, Morisot still found oil painting difficult, and worked mostly in watercolor. Her choice of colors is rather restrained; however, the delicate repetition of hues renders a balanced effect. Due to specific characteristics of watercolors as a medium, Morisot was able to create a translucent atmosphere and feathery touch, which contribute to the freshness in her paintings.

 Impressionism, 1875–1885
Having become more confident about oil painting, Morisot worked in oil, watercolor and pastel at the same time, as Degas did. She painted very quickly but did much sketching as preparation, so she could paint "a mouth, eyes, and a nose with a single brushstroke."  She made countless studies of her subjects, which were drawn from her life so she became quite familiar with them. When it became inconvenient to paint outdoors, the highly finished watercolors done in the preparatory stages allowed her to continue painting indoors later.

 Turning, 1885–1887
After 1885, drawing began to dominate in Morisot's works. Morisot actively experimented with charcoals and color pencils. Her reviving interest in drawing was motivated by her Impressionist friends, who are known for blurring forms. Morisot put her emphasis on the clarification of the form and lines during this period. In addition, she was influenced by photography and Japonisme. She adopted the style of placing objects away from the center of the composition from Japanese prints of the time.

 Synthesis, 1887–1895
Morisot started to use the technique of squaring and the medium of tracing paper to transcribe her drawing to the canvas exactly. By employing this new method, Morisot was able to create compositions with more complicated interaction between figures. She stressed the composition and the forms while her Impressionist brushstrokes still remained. Her original synthesis of the Impressionist touch with broad strokes and light reflections, and the graphic approach featured by clear lines, made her late works distinctive.

 Style and technique
Because she was a female artist, Morisot's paintings were often labeled as being full of "feminine charm" by male critics, for their elegance and lightness. In 1890, Morisot wrote in a notebook about her struggles to be taken seriously as an artist: "I don't think there has ever been a man who treated a woman as an equal and that's all I would have asked for, for I know I'm worth as much as they."
Her light brushstrokes often led to critics using the verb "effleurer" (to touch lightly, brush against) to describe her technique. In her early life, Morisot painted in the open air as other Impressionists to look for truths in observation. Around 1880 she began painting on unprimed canvases—a technique Manet and Eva Gonzalès also experimented with at the time—and her brushwork became looser. In 1888–89, her brushstrokes transitioned from short, rapid strokes to long, sinuous ones that define form. The outer edges of her paintings were often left unfinished, allowing the canvas to show through and increasing the sense of spontaneity. After 1885, she worked mostly from preliminary drawings before beginning her oil paintings. She often worked in oil paint, watercolors, and pastel simultaneously, and sketched using various drawing media. Morisot's works are almost always small in scale.

Morisot creates a sense of space and depth through the use of color. Although her color palette was somewhat limited, her fellow impressionists regarded her as a "virtuoso colorist". She typically made expansive use of white to create a sense of transparency, whether used as a pure white or mixed with other colors. In her large painting The Cherry Tree, the colors are more vivid but still emphasize the form.

Inspired by Manet's drawings, she kept the use of color to a minimum when constructing a motif. Responding to the experiments conducted by Manet and Edgar Degas, Morisot used barely tinted whites to harmonize the paintings. Like Degas, she played with three media simultaneously in one painting: watercolor, pastel, and oil paints. In the second half of her career, she learned from Renoir by mimicking his motifs. She also shared an interest in keeping a balance between the density of figures and the atmospheric traits of light with Renoir in her later works.

 Subjects

Morisot painted what she experienced on a daily basis. Most of her paintings include domestic scenes of family, children, ladies, and flowers, depicting what women's life was like in the late nineteenth century. Instead of portraying the public space and  society, Morisot preferred private, intimate scenes. This reflects the cultural restrictions of her class and gender at that time. Like her fellow Impressionist Mary Cassatt, she focused on domestic life and portraits in which she could use family and personal friends as models, including her daughter Julie and sister Edma. The stenographic presentation of her daily life conveys a strong hope to stop the fleeting passage of time. By portraying flowers, she used metaphors to celebrate womanhood. Prior to the 1860s, Morisot painted subjects in line with the Barbizon school before turning to scenes of contemporary femininity. Paintings like The Cradle (1872), in which she depicted current trends for nursery furniture, reflect her sensitivity to fashion and advertising, both of which would have been apparent to her female audience. Her works also include landscapes, garden settings, boating scenes, and themes of boredom or ennui. Later in her career Morisot worked with more ambitious themes, such as nudes. In her late works, she often referred to the past to recall a memory from her earlier life and youth, and her departed companions.

 Impressionism

Morisot's first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to generally favorable reviews, until 1873, the year before the first Impressionist exhibition. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born.

Impressionism's alleged attachment to brilliant color, sensual surface effects, and fleeting sensory perceptions led a number of critics to assert in retrospect that this style, once primarily the battlefield of insouciant, combative males, was inherently feminine and best suited to women's weaker temperaments, lesser intellectual capabilities, and greater sensibility.

During Morisot's 1874 exhibition with the Impressionists, such as Monet and Manet, Le Figaro critic Albert Wolff noted that the Impressionists consisted of "five or six lunatics of which one is a woman...[whose] feminine grace is maintained amid the outpourings of a delirious mind."

Morisot's mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, who bought twenty-two paintings. In 1877, she was described by the critic for Le Temps as the "one real Impressionist in this group." She chose to exhibit under her full maiden name instead of using a pseudonym or her married name. As her skill and style improved, many began to rethink their opinion toward Morisot. In the 1880 exhibition, many reviews judged Morisot among the best, even including Le Figaro critic Albert Wolff.

Personal life
Morisot came from an eminent family, the daughter of a government official and the great-niece of Rococo artist Jean-Honoré Fragonard. She met her longtime friend and colleague, Édouard Manet, in 1868. By the introduction of Manet, Morisot was married to Édouard's brother, Eugène Manet in 1874. On November 14, 1878, she gave birth to her only child, Julie, who posed frequently for her mother and other Impressionist artists, including Renoir and her uncle Édouard.

Correspondence between Morisot and Édouard Manet shows warm affection, and Manet gave her an easel as a Christmas present. Morisot often posed for Manet and there are several portrait paintings of Morisot such as Repose (Portrait of Berthe Morisot) and Berthe Morisot with a Bouquet. Morisot died on March 2, 1895, in Paris, of pneumonia contracted while attending to her daughter Julie's similar illness, thus making Julie an orphan at the age of 16. She was interred in the Cimetière de Passy.

Works

Selection of worksThis list is incomplete, you can help by expanding it with certified entries.This limited selection is based in part on the book Berthe Morisot by Charles F. Stuckey, William P. Scott and Susan G. Lindsay, which is in turn drawn from the 1961 catalogue by Marie-Louise Bataille, Rouaart Denis and Georges Wildenstein. There are variations between the dates of execution, first showing and purchase. Titles may vary between sources.

1864–1874
 Étude, 1864, oil on canvas, 60.3 × 73 cm, private collection
 Chaumière en Normandie, 1865, oil on canvas, 46 × 55 cm, private collection
 La Seine en aval du pont d'Iéna, 1866, oil on canvas, 51 × 73 cm, private collection
 La Rivière de Pont Aven à Roz-Bras, 1867, oil on canvas, 55 × 73 cm, private collection – Chicago
 Bateaux à l'aurore, 1869, pastel on paper, 19.7 × 26.7 cm, private collectionJeune fille à sa fenêtre, 1869, oil on canvas, 36.8 × 45.4 cm, private collection
 Madame Morisot et sa fille Madame Pontillon (La Lecture), 1869–1870, oil on canvas, 101 × 81.8 cm, National Gallery of Art, Washington, D.C.
 Le Port de Cherbourg, 1871, crayon and watercolour on paper, 15.6 × 20.3 cm, private collection of Paul Mellon, Upperville, Virginia
 Le Port de Cherbourg, 1871, oil on canvas, 41.9 × 55.9 cm, private collection of Paul Mellon, Upperville, Virginia
 Vue de paris de hauteurs du Trocadéro, 1871, oil on canvas, 46.1 × 81.5 cm, Santa Barbara Museum of Art, California
 Femme et enfant au balcon, 1871–72, watercolor, 20.6 × 17.3 cm, Art Institute of Chicago
 Intérieur, 1871, oil on canvas, 60 × 73 cm, private collection
 Portrait de Madame Pontillon, 1871, pastel on paper, 85.5 × 65.8 cm, Louvre – drawings cabinet gift of Madame Edma Pontillon to the Louvre in 1921, in the collection of the Musée d'Orsay
 L'Entrée du port, 1871, watercolour on paper, 24.9 × 15.1 cm, , Bagnols-sur-Cèze – drawings cabinet
 Madame Pontillon et sa fille Jeanne sur un canapé, 1871, watercolour on paper, 25.1 × 25.9 cm, National Gallery of Art, Washington
 Jeune fille sur un banc (Edma Pontillon), 1872, oil on canvas, 33 × 41 cm
 Cache-cache, 1872, oil on canvas, 33 × 41 cm, Private collection
 Le Berceau, 1872, oil on canvas, 56 × 46 cm Musée d'Orsay, Paris
 La Lecture (Edma lisant), also titled L'Ombrelle verte, 1873, oil on canvas, 45.1 × 72.4 cm, Cleveland Museum of Art, Ohio
 Sur la plage des Petites-Dalles, 1873, oil on canvas, 24.1 × 50.2 cm, Virginia Museum of Fine Arts, Richmond, Virginia
 Madame Boursier et sa fille, 1873, oil on canvas, 74 × 52 cm, Virginia Museum of Fine Arts
 Le Village de Maurecourt, 1873, pastel on paper, 47 × 71.8 cm, private collection
 Coin de Paris vu de Passy, 1873, pastel on paper, 27 × 34.9 cm, private collection
 Sur la terrasse, 1874, oil on canvas, 45 × 54 cm, Musée du Petit Palais, Paris
 Portrait de Madame Hubbard, 1874, oil on canvas, 50.5 × 81 cm, Ordrupgaard museum de Copenhagen
 Femme et enfant au bord de la mer , 1874, watercolor on paper, 16 × 21.3 cm, private collection

 1875–1884
 Percher de blanchisseuses , 1875, Oil on canvas 33 × 40.8 cm, National Gallery of Art, Washington D.C.
 Jeune fille au miroir, 1875, oil on canvas, 54 × 45 cm, private collection
 Scène de port dans l'île de Wight, 1875, oil on canvas, 48 × 36 cm private collection
 Scène de port dans l'île de Wight, 1875, oil on canvas, 43 × 64 cm, Newark Museum, Newark, New Jersey
 Eugène Manet à l'île de Wight, 1875, oil on canvas, 38 × 46 cm private collection
 Avant d'un yacht, 1875, watercolour on paper, 20.6 × 26.7 cm, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts
 Femme à sa toilette, 1875, oil on canvas, 46 × 38 cm private collection
  Femme à sa toilette , 1875–1880, hst, dim; 60.3 × 80.4 cm, Coll. Art Institute of Chicago
 Portrait de femme (Avant le théâtre), 1875, oil on canvas, 57 × 31 cm, Galerie Schröder & Leisewitz, Bremen
 Jeune femme au bal encore intitulé Jeune femme en toilette de bal, 1876, oil on canvas, 86 × 53 cm Musée d'Orsay
 Au Bal ou Jeune fille au bal, 1875, oil on canvas, 62 × 52 cm, Musée Marmottan-Monet, ParisJeune Femme arrosant un arbuste, 1876, oil on canvas, 40.01 × 31.75 cm, Virginia Museum of Fine Arts, Richmond, Virginia
 Le Corsage noir , 1876, oil on canvas, 73 × 59.8 cm National Gallery of Ireland, Dublin
 Le Psyché, 1876, oil on canvas, 65 × 54 cm, Thyssen-Bornemisza Museum, Madrid
 Rêveuse, 1877, pastel on canvas, 50.2 × 61 cm, Nelson-Atkins Museum of Art, Kansas City, Missouri
 L'Été, encore intitulé Jeune femme près d'une fenêtre 1878, oil on canvas, 76 × 61 cm, Musée Fabre, Montpellier
 Jeune feme assise, 1878–1879, oil on canvas, 80 × 100 cm, private collection New York City
 Jeune fille de dos à sa toilette, encore intitulé Femme à sa toilette 1879, oil on canvas, 60.3 × 80.4 cm Art Institute of Chicago
 Le Lac du Bois de Boulogne (Jour d'été), 1879, 45.7 × 75.3 cm, National Gallery, London
 Dans le jardin (Dames cueillant des fleurs), 1879, oil on canvas, 61 × 73.5 cm, Nationalmuseum Stockholm
 Jeune femme en toilette de bal (Young Woman in Evening Dress), 1879, oil on canvas, 71 x 54 cm, Musée d'Orsay, Paris
 Hiver, 1880, oil on canvas, 73.5 × 58.5 cm, Dallas Museum of Art
 Deux filles assises près d'une table, 1880, crayon and watercolour on paper 19,6 × 26.6 cm private collection Germany
 Bateaux sur la Seine. c. 1880, 25.5 × 50 cm. Provenance: acquired from the artist's family by the first owner, sold with a letter of authenticity from Daniel Wildenstein at Sotheby's, 1984.
 Plage à Nice 1881–1882, watercolour on paper 42 × 55 cm, Nationalmuseum Stockholm
 Le Port de Nice, 1881–1882, oil on canvas, 53 × 43 cm private collection
 Le Port de Nice, 1881–1882, oil on canvas, 41 × 55 cm private collection
 Le Port de Nice 1881 (?)third version format 38 × 46 cm conserved at Dallas Museum of Art
 Le Thé, 1882, oil on canvas, 57.5 × 71.5 cm, Fondation Madelon Vaduz, Liechtenstein
 Le Port de Nice, 1881–1882, oil on canvas, 53 × 43 cm private collection
 La Fable, 1883, oil on canvas, 65 × 81 cm private collection
 Le Jardin (Femmes dans le jardin) (1882–1883) oil on canvas, 99.1 × 127 cm, Sara Lee Corporation, Chicago
 Eugène Manet et sa fille au jardin 1883, oil on canvas, 60 × 73, private collection
 Dans le jardin à Maurecourt, 1883, oil on canvas, 54 × 65 cm, Toledo Museum of Art
 Le Quai de Bougival, 1883, oil on canvas, 55.5 × 46 cm, Nasjonalgalleriet, Oslo
 Julie et son bateau (Enfant jouant), 1883, watercolour on paper, 25 × 16 cm, private collection
 La Meule de foin 1883, oil on canvas, 55.3 × 45.7 cm, private collection, New York
 Dans la véranda, 1884, oil on canvas, 81 × 10 cm, private collection
 Julie avec sa poupée, 1884, oil on canvas, 82 × 10 cm, private collection
 Petite fille avec sa poupée (Julie Manet), 1884, pastel on paper, 60 × 46 cm, private collection
 Sur le lac, 1884, oil on canvas, 65 × 54 cm, private collection
 The Artist's Daughter, Julie, with her Nanny, c. 1884, oil on canvas, Minneapolis Institute of Art

 1885–1894
 Autoportrait, 1885, pastel on paper, 47.5 × 37.5 cm, Art Institute of Chicago
 Autoportrait avec Julie, 1885, oil on canvas, 72 × 91 cm, private collection
 Jeune femme assise au Bois de Boulogne, 1885, watercolour on paper, 19 × 28 cm, Metropolitan Museum of Art, New York City
 La Forêt de Compiègne, 1885, oil on canvas, 54.2 × 64.8 cm, Art Institute of Chicago
 Le Bain (Jeune file se coiffant), 1885–1886, oil on canvas, 81.1 × 72.3 cm, Art Institute of Chicago
 Dans la salle à manger, 1885–1886, oil on canvas, 61.3 × 50 cm, National Gallery of Art
 Le Lever, 1886, oil on canvas, 65 × 54 cm, collection Durand-Ruel
 Intérieur à Jersey (Intérieur de cottage), 1886, oil on canvas, 50 × 60 cm, Musée communal des beaux-arts d'Ixelles
 Femme s'essuyant, 1886–1887, pastel on paper, 42 × 41 cm, Non localisé
 Julie avec un chat, 1887, drypoint, 14.5 × 11.3 cm, National Gallery of Art, Washington
 Nu de dos, 1887, charcoal on paper, 57 × 43 cm, private collection
 Éventail en médaillon, 1887, watercolour on silk fan, private collection
 Portrait de Paule Gobillard, 1887, coloured pencil on paper, 27.9 × 22.9 cm, Reader's Digest Association, New York
 Le Lac du Bois de Boulogne, 1887, watercolour on paper, 29.5 × 22.2 cm, National Museum of Women in the Arts, Washington
 Fillette lisant (La lecture), 1888, oil on canvas, 74.3 × 92.7 cm, Museum of Fine Arts (St. Petersburg, Florida)
 Berthe Morisot and Julie Manet, c.1888–1890, drypoint, 18.42 x 13.49 cm, Minneapolis Institute of Art, Minneapolis
 La Cueillette des oranges, 1889, pastel, 61 × 46 cm, Musée d'art et d'histoire de Provence, GrasseSous l'oranger (Julie), 1889, oil on canvas, 54 × 65 cm, private collectionL'Île du Bois de Boulogne, 1889, oil on canvas, 68.4 × 54.6 cm, National Gallery of Art, WashingtonLe Flageolet (Julie Manet et Jeanne Gobillard), 1891, oil on canvas, 56 × 87 cm, private collectionLe Cerisier 1891, 1891, oil on canvas, 138 × 88.9 cm, private collection, Washington Étude pour Le Cerisier, 1891, pastel on paper, 45.7 × 48.9 cm, The Reader's Digest Association Julie Manet avec son lévrier, 1893, oil on canvas, 73× 80 cm, Musée Marmottan-Monet, Paris Les Enfants de Gabriel Thomas, 1894, oil on canvas, 100 × 80 cm, Musée d'Orsay, ParisLa Coiffure, 1894, oil on canvas, 100 × 80 cm, Museo Nacional de Bellas Artes (Buenos Aires)Jeune fille aux cheveux noirs, 1894, pencil and watercolour, 23.1 × 16.8 cm, Philadelphia Museum of Art, Philadelphia

Gallery

Portraits of Morisot

Art market

Morisot's work sold comparatively well. She achieved the two highest prices at a Hôtel Drouot auction in 1875, the Interior (Young Woman with Mirror) sold for 480 francs, and her pastel On the Lawn sold for 320 francs. Her works averaged 250 francs, the best relative prices at the auction.

In February 2013, Morisot became the highest priced female artist, when After Lunch (1881), a portrait of a young redhead in a straw hat and purple dress, sold for $10.9 million at a Christie's auction. The painting achieved roughly three times its upper estimate,Ellen Gamerman and Mary M. Lane (April 18, 2013), Women on the Verge The Wall Street Journal. and it exceeded the 2012 record of $10.7 million for a sculpture by Louise Bourgeois.

Legacy
She was portrayed by actress Marine Delterme in a 2012 French biographical TV film directed by Caroline Champetier. The character of Beatrice de Clerval in Elizabeth Kostova's The Swan Thieves is largely based on Morisot.

She was featured as the "A First Impressionist" in an article written by Anne Truitt in the New York Times on June 3, 1990.

From Melissa Burdick Harmon, an editor at Biography magazine, "While some of Morisot's work may seem to us today like sweet depictions of babies in cradles, at the time these images were considered extremely intimate, as objects related to infants belonged exclusively to the world of women."

In 2019, the Musée d'Orsay devoted a temporary exhibition to Berthe Morisot to pay tribute to her work.

 Exhibition

 See also
 Women artists
 Western painting
 History of painting
 Julie Manet

Notes

References

Sources

 Denvir, B. (2000). The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. London: Thames & Hudson.
 Higonnet, Anne (1995). Berthe Morisot. Berkeley: University of California Press.
 Turner, J. (2000). From Monet to Cézanne: late 19th-century French artists. Grove Art. New York: St Martin's Press.
 Manet, Julie, Rosalind de Boland Roberts, and Jane Roberts. Growing Up with the Impressionists: The Diary of Julie Manet. London: Sotheby's Publications, 1987
 Shennan, Margaret (1996). Berthe Morisot: The First Lady of Impressionism''. Stroud: Sutton Publishing.

External links

 Edma Morisot, 1865, Berthe Morisot painting at her easel Private collection.
 Berthe Morisot at the WebMuseum
 Biography of Berthe Morisot

1841 births
1895 deaths
Artists from Bourges
19th-century French painters
French women painters
French Impressionist painters
Burials at Passy Cemetery
19th-century French women artists


In just under two weeks John Murry begins his first solo headline UK tour. This follows the release last summer of The Graceless Age; an extraordinary collection of personal, soul-baring songs and performances assembled with the support and assistance of Tim Mooney, once of American Music Club, whose untimely death coincided with the release of the record.
The Graceless Age is a barbed album; once it has its hooks in a listener it won't let go, and they can't let go. Over the last six months it has infiltrated its way into many lives, and the consequence is that Murry is here shortly for the first of what will be a series of visits to Europe in the coming period.
But 2013 is the year when John Murry comes into his kingdom and this is the one sure chance of seeing him in relative intimacy, in small venues. Its an opportunity not to be spurned, to grasp the moment of watching these songs as they grow and transmute in live performance.
It's a short tour, a little toes in the water, and this time some parts of the country are better served than others but if you can find yourself anywhere in the vicinity these are the shows that are not to be missed.
And though a Southern bias is quite deplorable if you're anywhere near the Home Counties you could actually do four of them (Brighton, Oxford, Winchester, and London).


text:
"Asking really pertinent questions about modern life": Gordon Cheung And Tsang Kin-Wah @ CFCCA — Reviewed
Linda Pittwood identifies uncomfortable threads — between political powers, digital interventions and rewritten histories — at CFCCA's anniversary exhibition…
On my way to the Chinese Centre for Contemporary Art (CFCCA), I was reading an article about man who had joined and then defected from ISIS. It traced his emotional and geographic journey, from aimless emptiness back to the arms of his wife. Obviously, I wasn't expecting there to be any connection between that story and the show I was about to see… I was wrong.
CFCCA, tucked away and yet prominently positioned in the thriving and diverse Northern Quarter of Manchester City Centre, is celebrating its 30th anniversary this year with a hugely ambitious programme of exhibitions and events. The programme is the gallery's way of reacquainting its audience with artists they have worked with throughout the centre's history. This has already included showing Cao Fei's new film, an installation by Xu Bing, a new multi-site collaborative graffiti project by The Temporary, hanging 30 new Instagram-and-China themed prints by Stanley Chow in its stairwell, and Li Xinjian's specially designed Manchester and Salford map-DNA wallpaper in the toilets.
Earlier this month, CFCCA launched two new exhibitions: from its former artist-in-residence, London-based Gordon Cheung, who presents a new triptych entitled Chairman Mao goes to Anyuan (2016) in the shop-front-style Gallery 2 (until 19 June 2016); and in a pop-up space within Gallery 1, returning eight years after his first UK solo exhibition at CFCCA, Hong Kong-based Tsang Kin-Wah shows his 2015 video, First Trumpet in the New Millennium (on show until 24 April).
"Kin-Wah's black clouds bought to my mind the two great powers that will likely come to characterise this period of history: China and ISIS"
I must admit, I had not done any research about what was on display prior to my visit. As a consequence, Kin-Wah's work surprised me by being a departure from his text-based work, which I had previously seen at his aforementioned CFCCA solo show in 2008, creeping across walls and windows, in What are you looking at?. It also surprised me that he'd taken 9/11 as a subject matter for this new work. Although this is the 'remember where you were when' event of my generation, I hadn't really considered that a terrorist act in the USA will be forever linked to the dawn of the new millennium. Or considered how the ripples of this event were felt in seemingly unaffected and un-implicated territories, such as Hong Kong. The artist's choice to approach the subject, through digitally manipulated YouTube footage, suggests both the global implications of the attack, but also the distorting effect of viewing the world mediated through user-generated content. He adds a strident (his word) classical soundtrack.
Sitting in the gallery watching Kin-Wah's black clouds drift like amoebas across a screen — engulfing, growing, receding — bought to my mind the two great powers that will likely come to characterise this period of history: China and ISIS. The artist, however, uses his film The Second Seal (2009-present) as a touchstone, which is based around the Bible's apocolyptic Book of Revelation; finding a connection with the words "…there came hail and fire mixed with blood, and it was hurled down on the earth… a third of the earth was burned up."
"Cheung's work demonstrates the ability of the Internet and globalisation to revisit these myths, but also, perhaps, to create new ones"
Ideas around power and digital interventions are the threads that connect the two artists' work. Cheung also presents a single piece, Chairman Mao goes to Anyuan; a giclee on three canvases. It is his own contribution to a couple of established trends in Chinese art of the post-Mao era; the appropriation of footage or images of recent historical figures (especially Mao), and the interrogation of the propaganda machine and its associated visual culture.
Mao's face has been swept away by an algorithm. Cheung's work is making a reference to Chairman Mao goes to Anyuan: a famous and very recognisable poster of the same name by propaganda artist Chunhua Liu from 1968. The original work was produced during the Cultural Revolution, and it fictitiously placed Mao at the Anyuan Miners Strike; a revision of history to better fit the Communist Party mythology. Cheung's work demonstrates the ability of the Internet and globalisation to revisit these myths, but also, perhaps, to create new ones.
CFCCA has nothing to prove in terms of demonstrating that it has worked with many artists who have gone on to have real impact in the international art world. Besides reasserting this point, the 30th anniversary programme shows that it has maintained its networks and relationships throughout the years; the final three artists to make up the programme, Lee Mingwei, susan pui san lok and Yu-Chen Wang, are no exception. CFCCA has – and continues to – ask really pertinent questions about modern life and how we see the world, from which vantage point. Because of this, it resonates with everyone, and you will probably find that at least one of the exhibitions connects with whatever you are thinking about right now.
Linda Pittwood
See 30 Years of CFCCA, at CFCCA, Manchester, until July 2016 — full programme of artists and exhibitions here (free)
Tsang Kin-Wah shows his 2015 video, First Trumpet in the New Millennium, in Gallery 1 until 24 April; Gordon Cheung presents a new triptych entitled Chairman Mao goes to Anyuan (2016) in Gallery 2 until 19 June

redpajama_set_name: RedPajamaCommonCrawl


If you're around people, who wouldn't like the smell of Garlic on your breath, then you can use one or both of the following methods, so that you have only a SMALL amount of breath odor.
3. Brush your Tongue CLEAN with a Toothbush and/or SCRAPE it CLEAN with a Spoon.
1. Peel as many Garlic cloves as you want to take.
2. Slice each of them in half.
3. Place these pieces in the bottom of a tea cup.
4. Pour boiling water over the pieces.
5. Allow them to steep in the hot water for 5 minutes.
7. Eat the pieces of Garlic cloves.
NOTE: Using this last method, you'll be able to obtain ALMOST ALL of the HEALTHY BENEFITS of eating RAW Garlic, but WITHOUT the Garlic breath odor!
If You're Interested In Reading DETAILED Information About Garlic, Then Please CLICK HERE.


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In the best Uipath training in Gurgaon TCA provide the Uipath training and certification along with the placement program. The main topics which are going to be covered in Uipath training are Introduction of UiPath,Variables, Data types & Control flow,Data Manipulation,Recording, Advance UI Interaction,Selectors,Image & Text Automation,Advance citrix automation,Excel & data tables, PDF automation,E-mail Automation,Debugging and Exception handling,Project Organization,Project task and many more.
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It is often said that our desires are endless. When one gets fulfilled, the other one crops up! There is nothing wrong with this though, cause all the discoveries, progress, etc. that we see around, are actually a result of the limitless desires of the human kind. Goals justify the means to achieve something. If you have a positive plan of action and definite goals to fulfill, it will help you grow and at the same time help you work for the betterment of others.
We all aim for professional as well as personal development in life. For the simple reason that we want the best of both worlds. We want to be successful workers and at the same time wish to have a loving partner, happy children and satisfied parents. Self improvement and achieving these goals become easier, if we are able to define exactly what we want.
A man's personal life includes - his immediate family, his neighborhood, the society and the country he lives in and most importantly the man himself. The goals that he sets to improve his personal life, will one way or the other, affect any or all of these. Here are some long and short-term examples of personal goals that one can set in their life.
I want to lose/gain X amount of weight by X date. I will exercise every day. I will not eat junk food. I will take care of my family and myself for achieving and sustaining optimum health and wellness.
I will pursue my hobbies (reading, painting, dancing, etc.) along with my work. For this, I will devote one hour every day. I plan to learn a foreign language. I will spend some time to improve my writing and speaking skills. I plan to create my own blog and provide useful content to my readers.
I will meditate for fifteen minutes every day, for my peace of mind. I will go to church every Sunday. I'll volunteer my services to my church every week.
I will live my life ethically. I will not do anything which makes me feel guilty. I will not lie, steal, gossip or hurt anybody. I will pay my taxes on time. I'll abide by all social and moral rules.
I will respect, love and stay committed to my spouse. I will spend quality time with my children every day. I will make it a point to attend all the parent's day, sports events, annual function at school, for my children. I'll teach my children something worthwhile that will help them in every stage of their lives.
In today's world, a person is considered successful, only if he earns well or occupies a good position at his workplace. If you wish to have a great work life, it is important for you to set certain boundaries at work. You should know your priorities well and then set realistic goals. Be clear with what you want and learn to delegate some tasks to others to balance your personal and professional life in a better way. Here are some examples of short and long-term personal goals that are important for your professional development.
I will reach the position of X in Y years.
I'll utilize my knowledge and abilities and work hard to achieve success.
I will earn X amount of money by the time I become Y years old and for this I will develop my negotiation skills.
I'll perform my tasks with responsibility, commitment and honesty.
I'll abide by the company's rules and regulations and handle my tasks to meet the expectations of my organization.
I will manage my time better by planning everything in advance.
I will communicate with my colleagues, subordinates and seniors, with openness.
I will try to be patient with my subordinates and encourage them to enhance their problem solving skills. I will be aware of the new trends and developments in the industry I work for and continue to upgrade my skills, whenever required. Employee training will always be a priority.
I'll motivate my juniors to formulate and come up with new and innovative ideas.
I will upgrade my management skills, communication skills, decision-making skills, etc.
The above examples are only for your reference. You have to set your own personal and professional goals, according to your priorities in life. Only setting goals are not enough, you have to stay focused, be persistent and determined, and inculcate positive thinking, if you want to attain them and be successful. All the best!


DiBenedetto does for octopuses and u.f.o.s what Cézanne did for apples and oranges (and what Guston did for bloodshot eyeballs), making paintings for painting's sake. This fiendishly appealing small show of the artist's collages begins with a swarming work held in place by straight pins, so its elements flutter like insects. It's followed by compressed and agitated compositions in acid hues that seem ready to melt down into raw energy or whir off the page. Don't miss the chapbook that accompanies the show, a visual index of DiBenedetto's inspirations, from alchemical illustrations to "Easy Rider." Through Feb. 25.


As announced in the 2016 Budget, the Technology Education and Collaboration Hub in Thunder Bay will offer students preparatory, apprenticeship, trades and technology programs in a single location.
The innovative workshop and laboratory space will expand training opportunities in Thunder Bay and help develop an employment-ready technology and trades workforce for Northern Ontario.
Exposure to multiple fields of study within the same facility will allow students to develop the diverse skills they need to compete for jobs in Ontario's manufacturing, technology, and resource sectors.The Technology Education and Collaboration Hub is part of the largest investment in public infrastructure in the province's history -- about $160 billion over 12 years, which is supporting 110,000 jobs every year across the province, with projects such as roads, bridges, transit systems, schools and hospitals. In 2015, the province announced support for more than 325 projects that will keep people and goods moving, connect communities and improve quality of life.
Supporting technology and trades jobs in the North is part of the government's economic plan to build Ontario up and deliver on its number-one priority to grow the economy and create jobs. The four-part plan includes investing in talent and skills, including helping more people get and create the jobs of the future by expanding access to high-quality college and university education. The plan is making the largest investment in public infrastructure in Ontario's history and investing in a low-carbon economy driven by innovative, high-growth, export-oriented businesses. The plan is also helping working Ontarians achieve a more secure retirement.
The Technology Education and Collaboration Hub will be located at Confederation College's main campus in Thunder Bay.
This project is part of Ontario's plan to provide $3 billion in capital grants to postsecondary institutions over 10 years.
Since 2003, Ontario has provided over $1.2 billion in capital grants to colleges.
In 2014-15, over 35,700 students were enrolled at northern universities and colleges, an increase of 21 per cent since 2002-03.
The new Premier's Highly Skilled Workforce Strategy Expert Panel is developing a strategy to help the province's workforce adapt to the demands of a technology-driven economy.


Because alcohol is legal, many people underestimate its addictive power. We also tend to neglect just how challenging withdrawal from it can be.
While a person's experiences may vary, for a person addicted to abusing alcohol these symptoms may begin to set in as early as six hours after their last drink. The withdrawal is at its worst for the next twenty-four to seventy-two hours. Then it begins to subside over the next seven days.
Many people fail to recognize just how challenging alcohol is to clean up from for some addicts. It's been estimated that around fifteen percent of the population has had some degree of alcohol dependence. Of those who attempt to go sober, half will develop withdrawal symptoms and of these about four percent will have severe symptoms.
Successfully dealing with alcohol dependence is best achieved through the help of medical professionals who can recognize the withdrawal symptoms. There is also South Florida alcohol treatment, which can help with not only the detox, but also help you with what comes next. Developing a strategy and new coping skills is really important. There are small changes you can make (such as keeping a glass of water to keep your hands full when a bottle feels absent) but larger changes also need made. A person with alcohol dependency needs to look at their life and find sources that lead to their addiction. Experienced therapists and support groups can help here. They can also help you develop new strategies for dealing with triggers.
If you think you may be dependent on alcohol, please give us a call at 866.319.6126.


1. Paint the walls in your bedroom Serenity to create a cozy getaway from the piles of dishes and baring TV. Blue is a shade that comforts us, and makes us feel calm and serene, as the name would suggest. This colour will also make spaces appear wider and airier. Painting a small powder room this light dusty blue opens it up and makes your water closet, a water house.
2. Pink is a hard colour to use in a room without making it feel feminine, or as if you've never repainted your childhood bedroom. Bring in small accents of Rose Quartz to a masculine room to soften and tone down the pink. Rose wall art above your oversized leather sofa will keep your room from being weighted down, or a soft pink throw and pillows will add a touch of colour to a neutral room without being overwhelming.
3. Mixing the two colours can seem impossible to those who are afraid of colour, but I promise it can be done without feeling like you're trapped in Candy Land. Choose one colour to use as your main accent, and throw in the second one here and there to keep your room from feeling boring. Use Serenity as your main colour for your walls or accents, and add a few splashes of Rose Quartz in decor such as pillows, or a vase, to break up the uniformity.
And for those like me, who live off colour, get your next sofa made in Serenity, or your headboard and duvet in Rose Quartz for some extra fun. I guarantee that adding these Pantone colours of the year will help lighten your home and make you feel more calm and happy. Bright colours bring optimism and excitement to your home, and us Winnipegers need some of that by the end of our winter.


text:
Q: Deserializing an object that contains JSON using GSON I'm using gson to deserialize POJO objects from JSON representations.
I'd like one of the fields in one of my POJOs to contain arbitrary JSON data.  For example:
class B {
    public String stringField;
    public JsonObject jsonField;
}

I'd like to be able to call Gson.fromJson(json, B.class) on the following JSON:
{
    "stringField": "booger",
    "jsonField" :
    {
        "arbitraryField1": "foo"
    }
}

and have the resulting B.jsonField contain a JsonObject with an arbitraryField of value foo.
However, when I attempt to do this, jsonField is always an empty object ({}).  In fact, more generally, it appears that the following always returns an empty object:
new Gson().fromJson("{ foo: 1 }", JsonObject.class)

I would expect the above to return an object containing a field named foo of value 1.
How can I have gson preserve arbitrary json data when deserializing json to POJOS?

A: I was able to work around the problem by introducing a wrapper object that contains a JsonObject, and then writing a custom deserializer for that object that simply returns the original json.  However, it seems like there must be a better way.
For posterity, the deserializer and the trivial wrapper object look like the following:
class MyJsonObjectWrapperDeserializer implements JsonDeserializer<MyJsonObjectWrapper> {
    @Override
    public MyJsonObjectWrapper deserialize(JsonElement json, Type typeOfT, JsonDeserializationContext context) throws JsonParseException {
        return new MyJsonObjectWrapper(json.getAsJsonObject());
    }
}

class MyJsonObjectWrapper {
    public JsonObject json;

    public MyJsonObjectWrapper(JsonObject json) {
        this.json = json;
    }
}

A: you can use JsonParser:
JsonParser parser = new JsonParser();
JsonObject o = parser.parse("{ \"foo\": \"1\" }").getAsJsonObject();

A: Consider this deserializer, which is my interpretation of the doc.
import com.google.gson.*;
import java.lang.reflect.Type;

class B {
    public String stringField;
    public JsonObject jsonField;
}

class BDeserializer implements JsonDeserializer<B> {
    public B deserialize(JsonElement json, Type typeOfT,
                         JsonDeserializationContext context)
                 throws JsonParseException {
        JsonObject jsonObject = json.getAsJsonObject();

        B b = new B();
        b.stringField = jsonObject.get("stringField").getAsString();
        b.jsonField = jsonObject.getAsJsonObject("jsonField");

        return b;
    }
}

public class Test {
    static public void main(String[] args) {
        GsonBuilder gson = new GsonBuilder();
        gson.registerTypeAdapter(B.class, new BDeserializer());

        String json = " { \"stringField\" : \"booger\", \"jsonField\" : { \"arbitraryField1\" : \"foo\" } } ";

        B b = gson.create().fromJson(json, B.class);
        System.out.println(b.stringField);
        System.out.println(b.jsonField.toString());
    }
}

redpajama_set_name: RedPajamaStackExchange


The newly constructed South Livingston Street Parking Garage, located at 111 S. Livingston Street, opened to the public on Monday, December 3rd. The project began construction in October 2017, which included a 650 stall parking garage and approximately 5,500 square foot commercial space building. While final finishing construction tasks will continue to be completed in the coming weeks, the parking garage is now open twenty-four hours per day, seven days per week, for public parking.
The garage includes five levels of parking, two elevators, 20 moped/motorcycle parking spaces, covered bicycle parking, and upon completion, will include electric vehicle charging stations and a B-Cycle station on the Livingston Street terrace.
The parking structure supports the daytime parking needs of the new Cosmos and Spark developments, hourly and daily visitor parking, offers overnight monthly parking permits for residents, non-residents and businesses, and provides much-needed evening and weekend parking for patrons of local establishments and event-goers.
Construction photos can be found on the City's FLICKR page or see the SkyCam for current images of the parking garage and a time-lapse of project construction.


Translate insights into low-fidelity wireframes, user profiles, and experience maps as needed.
Independently design, run, and analyze tests and surveys using UserZoom.
Develop research proposals, plans for research and usability testing that will uncover/resolve user issues; gather and synthesize data to inform and improve design decisions.
Uncover trends, suggest innovation and analyze contextual patterns of behavior that directly pertain to the success of financial products.
Create interactive prototypes and logical information architecture and/or partner closely with prototypers to develop meaningful interactions between users and systems.
Evangelize user-centered design principles with key stakeholders and business-unit leaders.
Organize and archive all session feedback, recordings and reports.
Validate final design decisions to ensure the voice of the member is represented.
Excel at storyboarding, wireframing, and visual and interactive design.
UX Design (Product & Site Features) - Develop process flows, wireframes, and mockups to effectively conceptualize and communicate high-level design strategies and detailed interaction behaviors.
UX Design (Conversion & Retention) - Design landing pages and site interactions to segment users, effectively convey product benefits and drive trial conversion.
Work closely with front-end development teams to ensure design solutions are understood and executed correctly.
Validate your designs through A/B testing, working with product management and user research.
Work with product management, design, and engineering to conduct UX research to hone product performance as seen through the lens of its users.
Evangelize/prioritize the research and the user voice in the product and design strategy process. Identify and execute on research opportunities.
Schedule, plan, and run generative interviews, test prototypes, and conduct usability studies for core products.
Gather and analyze data to inform product and design decisions.
Translate research findings into impactful recommendations.
Act as an advocate for the user throughout the product development cycle.
Conduct research (contextual inquiry, usability testing, A/B testing, user feedback loops, etc.) to better understand users' needs with the website.


text:
Iran Travel Agency
Iran Visa
Iran Adventure Tour
Iran Classic Tour
Iran Nature Tour
Iran Photography Tour
Iran Circle Tour
Iran Eco Classic Tour
Iran Trekking Tour
Iran Eco-Classic-Trekking Tour
Iran Eco-Trekking Tour
Iran Classic-trekking tour
Iran Religious Tour
Iran Religious – culture Tour
Iran Sport
Iran Ski Tour
Iran Damavand Mountain Tour
Iran Damavand – Classic Tour
Iran Damavand – historical Tour
Iran Biking Tour
Iran Desert Tour
Iran Nomad Tour
Iran Beach Tour
Iran Tour Bird Watching
Iran Daily Tours
Iran Services
Iran Ticket
Iran bus
Iran Train
Iran Flight
Iran Information
Iranian SimCard
Iran transportation
Iranian Souvenirs
Iran UNESCO World Heritage Sites
Iranian Legend & ceremonies
Iran Local Dress-Code
Iran Village Attraction
Filband village
Yoush Village
Masal village
Kandlous village
Oraman Flat
Meymand Village
Kandovan Village
Abyaneh Village
Palangan village
Iran Hotel
Tehran Hotel
Shiraz Hotel
Yazd Hotel
Isfahan Hotel
Ahvaz Hotels
Tabriz Hotel
Hamedan Hotels
Mashhad Hotel
Iran Destination
Located in the south-west of Iran, in the lower Zagros Mountains, the property encompasses a group of archaeological mounds rising on the eastern side of the Shavur River, as well as Ardeshir's palace, on the opposite bank of the river. The excavated architectural monuments include administrative, residential and palatial structures. Susa contains several layers of superimposed urban settlements in a continuous succession from the late 5th millennium BCE until the 13th century CE. The site bears exceptional testimony to the Elamite, Persian and Parthian cultural traditions, which have largely disappeared.
Outstanding Universal Value
Brief synthesis
Located in the lower Zagros Mountains, in the Susiana plains between the Karkheh and Dez Rivers, Susa comprises a group of artificial archaeological mounds rising on the eastern side of the Shavur River, encompassing large excavated areas, as well as the remains of Artaxerxes' palace on the other side of the Shavur River. Susa developed as early as the late 5th millennium BCE as an important centre, presumably with religious importance, to soon become a commercial, administrative and political hub that enjoyed different cultural influences thanks to its strategic position along ancient trade routes. Archaeological research can trace in Susa the most complete series of data on the passage of the region from prehistory to history. Susa appears as the converging point of two great civilisations which reciprocally influenced each other: the Mesopotamian and the Iranian plateau civilisations. Susa's long-lasting and prominent role in the region, either as the capital of the Elamites, or of the Achaemenid Empire, or as a strategic centre sought by neighbouring powers (e.g., Assyrian, Macedonian, Parthian, Sassanid) is witnessed by the abundant finds, of disparate provenance and of exceptional artistic or scientific interest, and by the administrative, religious, residential and palatial, as well as functional structures and traces of urban layout (e.g., the remains of the Haute Terrasse in the Acropolis, the Palace of Darius in the Apadana, the residential or production quarters, the Ardeshir Palace) that more than 150 years of archaeological investigations have revealed.
Criterion (i):
Susa stands as one of the few ancient sites in the Middle East where two major social and cultural developments took place: the development of the early state, and urbanization. Susa is among the few sites in the Middle East where the dynamics and processes that led to these monumental human achievements has been documented, and still holds a huge body of important tangible evidence to understand better the early and mature stages of social, cultural and economic complexity. In its long history, Susa contributed to the development of urban planning and architectural design. The royal ensemble of the Palace of Darius and Apadana, with its tall hypostyle hall and porticos, lofty stone columns and gigantic capitals and column bases, and the orthostatic and ceramic wall decorations, together represent an innovative contribution to the creation of a new expression, characteristic of the Achaemenid Empire.
Criterion (ii):
The proto-urban and urban site of Susa bears testimony, from the late 5th millennium BCE to the first millennium CE, to important interchanges of influences, resulting from ancient trade connections and cultural exchanges between different civilizations, namely the Mesopotamian and Elamite. Susa has been identified as the focal point of interaction and intersection between the nomadic and sedentary cultures. It played a key role in creating and expanding technological knowledge, and artistic, architectural and town planning concepts in the region. Through its sustained interaction with nearby regions, archaeological and architectural materials discovered at Susa exhibit a variety of styles and forms, shedding light on an international ancient city that both influenced and was imitated by its neighbours.
Criterion (iii):
The remains of the ancient city of Susa bear exceptional testimony to successive ancient civilizations during more than six millennia, as well as having been the capital city of the Elamite and Achaemenid Empires. It contains 27 layers of superimposed urban settlements in a continuous succession from the late 5th millennium BCE until the 13th century CE. Susa is on the most ancient of the sites, where the processes of urbanization crystallized in the late 5th millennium BC. A decade of scientific excavations from 1968 to 1978, and philological works at Susa, also documented the development and changing character of this early urban centre throughout the millennia.
Criterion (iv):
Susa is an outstanding and rare example of a type of urban settlement representing the beginnings of urban development in the proto-Elamite and Elamite periods, from the late fifth millennium BCE. Furthermore, from the sixth century BCE, as the administrative capital city of the Achaemenid Empire, Susa contributed to the creation of a new prototype of ceremonial architecture, which became a characteristic feature of the Iranian Plateau and its neighbouring lands.
The excavated site of the ancient urban and architectural remains of Susa is included within the boundaries of the property. Even though many of the finds are today exhibited in museums, Susa still includes the essential elements to express its Outstanding Universal Value. The property covers the known part of the ancient city, which is now protected against adverse development. Due to the high archaeological potential of the area that surrounds Susa, continuing archaeological research and documentation sustains the integrity of the property. The recent haphazard urban development of modern Shush threatens the edges and immediate setting of the property; however, strict regulations have been elaborated, integrated into the planning system and enforced. Their stringent implementation is crucial to maintaining the integrity of the property.
More than 150 years of archaeological research and historical sources confirm that the property encompasses the site of the ancient city of Susa. The material and form of the architectural remains are historically authentic, although many of the decorative elements are now deposited in museums for protection. As a protected archaeological property, Susa is being conserved using scientific and philological methods and approaches. Therefore, the excavated remains have been stabilized and conserved respecting their architectural and planning design as well as their building materials. From its initial formation and in the course of its development until its final decline, Susa has always remained on its present site; its environmental setting has, however, changed, with the hydraulic works carried out upstream of the Karkheh and the Shavur Rivers; however, these changes do not prevent the understanding of the role played by the environmental setting in the long-lasting prominence of Susa.
Protection and management requirements
Susa is protected as a National monument and falls under the responsibility of the ICHHTO which protects and manages the property through its Susa Base. Regulations for the property and its buffer and landscape zones have been incorporated into the planning instruments as prevailing norms. Their stringent implementation is crucial to guaranteeing the adequate protection and preservation of Susa's buried and unburied archaeological remains. Inter-institutional cooperation and coordination among existing instruments in the management of the property, and particularly of its immediate and wider setting, is fundamental to ensuring that urban growth respects the archaeological potential of the area and makes it an asset for a compatible and equitable development of Shush within its wider region.
Iran , Shiraz , Moadel St
Fax :+98 7132333251
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text:
Spiritual Alchemy
by William Meader
March 6, 2015 June 6, 2015
Personality, Soul
Alchemy has long been understood as the forerunner to modern day chemistry. Originally it was founded on the belief that through chemical and mystical processes various substances could be transmuted into precious metals—such as lead into silver or gold. Yet, when we consider this alchemical premise from an esoteric perspective, it becomes clear that it has a much deeper meaning and application, for it relates to the transformation of human consciousness leading to enlightenment.
The spiritual journey is rooted in the understanding that the soul is one's true identity, and that the role of the personality (ego) is to simply be the outer servant on its behalf. In truth, the journey to enlightenment is based upon our ability to transform the personality so that it willingly yields to the soul's downward gaze and intuitive promptings. This is the esoteric significance behind the ancient science of alchemy. For enlightenment to occur, the personality must be alchemized. Through the fiery process of purification, the personality is gradually transmuted and, in this way, becomes a cooperative agent in support of the soul's creative intention. Herein is found the meaning behind Spiritual Alchemy.
In addition to its role as a force that transmutes the personality into an instrument through which the soul can express, Spiritual Alchemy has another application worthy of note. Broadly considered, every human soul seeks to be a creative agent in support of humanity and its upliftment. Indeed, within the soul is an instinctual urge to serve, and by so doing, support the betterment of something beyond oneself. In the nomenclature of Esotericism, this is sometimes called the Art of Spiritual Magic and is truly an alchemical process.
Spiritual magic is based on the art of weaving new and progressive ideas into the fabric of humanity's collective consciousness. Such soul-inspired ideations, when applied wisely, act as a catalyst that can gradually transform various outworn attitudes and perspectives held by society. This too is a form of Spiritual Alchemy. It is to give expression to new and evolutionary ideas that have a transmuting effect upon the conventional thoughtforms that hold humanity in thralldom.
Every human soul is destined to be a spiritual alchemist in service to humanity. Essentially, the soul within each of us is compelled to be a transforming agent in support of humanity's evolution. Through the combined alchemical work offered by spiritually inclined people around the world, humanity is gradually transformed from its lower nature into something higher, wiser and more precious. To the alchemist of the Middle Ages, the aim was to transform base metals into gold. Yet to the spiritual alchemist, it is to usher humanity into a new and dawning era—a Golden Age.
Emergentlight.com


text:
David López-Zubero, född 11 februari 1959, är en spansk före detta simmare.

Han blev olympisk bronsmedaljör på 100 meter fjäril vid sommarspelen 1980 i Moskva.

Källor

Spanska simmare
Spanska olympiska bronsmedaljörer
Olympiska bronsmedaljörer 1980
Tävlande i simning vid olympiska sommarspelen 1976
Tävlande vid olympiska sommarspelen 1976 från Spanien
Tävlande i simning vid olympiska sommarspelen 1980
Tävlande vid olympiska sommarspelen 1980 från Spanien
Tävlande i simning vid olympiska sommarspelen 1984
Tävlande vid olympiska sommarspelen 1984 från Spanien
Födda 1959
Levande personer
Män
Alumner från University of Florida

redpajama_set_name: RedPajamaWikipedia


text:
<?php

namespace Dboss\Service;

class DataTypeService extends AbstractObjectManagerService
{
    public function __construct(array $params = array())
    {
        $params['entity_class'] = '\Dboss\Entity\DataType';
        parent::__construct($params);
    }
}

redpajama_set_name: RedPajamaGithub


Long Island's premier Second Amendment Rights Organization participates in a pizza eating contest to benefit The St. Baldrick's Foundation!
Monday, August 8th, 2011. For Immediate Release.
Club LIF is duly chartered by the National Rifle Association, and is an affiliate club of the New York State Rifle and Pistol Association.
Subject: LongIsland.com - Your Name sent you Article details of "Local Group Raises over $1000 for St. Baldrick's"


It's time for a quick holiday. Back on Thursday August 25.
The CYC's Performing Arts Camp presents its annual show to wrap up its summer program. It's always hailed as a charming presentation and this year's "Hip Hop Pantomine" promises more of the same! 7 pm, Thursday August 11, $10 at the door, Rosedale Heights School of the Arts (711 Bloor E).
There'll be three more workshops by K Funk and Lady Ree in Corktown Common. Learn how to sing and play the ukulele - it's a free event sponsored by Waterfront Toronto. Saturday August 13 from 2 to 3:30 pm, Wednesday August 17 from 7 to 8:30 pm and Saturday August 20, 2 to 3:30 pm. Corktown Common (West Don Lands, River Street south).
Congrats to the Cabbagetown BIA for sponsoring its music and movie night in Riverdale Park on Wednesday. A nice big crowd enjoyed a warm summer night's entertainment.
Musicians are back on our street corners on Saturdays in August. The Hot Rods played at Carlton and Parliament last Saturday. This project adds a nice touch to the business district on summer Saturdays. It's another successful idea from the Cabbagetown BIA.
The August event is coming up on Tuesday August 16. It's open for everyone - all ages and skill levels. Singers, instrumentalists, poets, spoken words, live readings - all welcome. No cover charge. There's a live band, Unbuttoned. 6 to 9 pm (show starts at 7 pm), Artscape Lounge in the Daniels Spectrum (585 Dundas E). For more details, click here.
The weekly outdoor movie series at the Big Park (620 Dundas E) in Regent Park.
Next week's movie is Boy (August 17). Purple Rain is scheduled for August 24. Click on the movie title to see preview clips.
Cinnamon buns were this week's special from the bake oven. Next week, local artists will be showcased and there'll be an Ethiopian meal by local caterers.
There's always entertainment, catered meals, a community marketplace and fine food - all on display every Wednesday at the market. From 5 to 8 pm, Regent Park (The Big Park), 620 Dundas E.
Art & Crafts in the Park runs on Friday afternoon September 9, Saturday September 10 and Sunday September 11. Gerald Fitzgerald is a Cabbagetown photographer who's making his fourth appearance in the show - you can see his website and photo galleries here.
The Cabbagetown Festival website has posted a preliminary list of entertainers who'll perform on Parliament Street on Saturday and Sunday during the Festival weekend. Several favourites are back again this year - Danny Marks, Jim Heinemann and Go Freddy Go. Tdot Batu and the St Jamestown Youth Steel Band will each provide lots of hypnotic drum rhythms. Project Phoenix and the Toronto All Star Big Band will bring a big sound to the street. There's lots more - stay tuned and save the dates.
The Toronto Star has picked up the story about party houses being rented on Air BnB. The issue is a priority for the new Winchester Park Residents Association. Five properties on Bleecker Street are being rented out for parties and the result is noise, troublesome people and garbage. The Star's story describes the impact and the action being taken by the City.
Brad Hunter has written a story in 24 Hours Toronto about Peter Wylie and the Cabbagetown Boxing Club (2 Lancaster). It's a glimpse into Peter's view of the current state of boxing as a sport.
Waterfront Toronto has a page on its blog about the development of its award-winning park, Corktown Common. As the park grows and develops its potential, it'll become ever-more important in our community. Click here to read the story.
The Hip's Kingston concert will be broadcast live in The Distillery. Bring a lawn chair and watch it on the big screen at the Trinity Stage. Saturday August 20, 8 pm.
Duncan Fremlin has announced the dates for Whiskey Jack's fall tour with a record release and its show, Stories & Songs of Stompin' Tom. They'll start in Oshawa on October 16, come into Toronto at the Lula Lounge on October 19 and then head off to Alliston, Sutton and Maryhill to November 6. Click here for more info and tickets.
Performers who will appear on Saturday August 13 at 2 pm and at 4 pm - to be announced.
The Flea will make a special appearance at The Distillery with amazing handcrafted and vintage vendors. Saturday August 13 from 11 am.
Every Sunday until September. Artisans will be selling their wares including food products and snacks at outdoor booths throughout the Distillery. Noon to 5 pm.
Cyril's next scheduled class will be held in two weeks - on Wednesday August 24. Next week, the class is fully booked for a private party.
Every week on Tuesday, Cyril shops at the Cabbagetown Farmer's Market. It's his plan to hold a cooking class on Wednesdays to highlight his purchases. The ingredients will, of course, change as produce is available at the Market.
On Saturday mornings through August, Impact (573 King E) is hosting a series of free events. On August 13 at 9 am, it's Yoga in the Park at Corktown Common with Stella from Framewrk. Bootcamp with Josh Broun happens in Underpass Park on August 20 and August 27 at 9 am. To get details and info and to confirm, please contact info@impactkitchen.ca.


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Final Civil Action: City First Mortgage Services, LLC, and Van Wagoner Investment Company Settled Allegations of Making False Certifications
U.S. DEPARTMENT OF
MEMORANDUM NO:
2016-SE-1801
TO:             Dane M. Narode
Associate General Counsel, Office of Program Enforcement, CACC
//signed//
FROM:           Ronald J. Hosking
Regional Inspector General for Audit, 0AGA
SUBJECT:        Final Civil Action: City First Mortgage Services, LLC, and Van Wagoner
Investment Company Settled Allegations of Making False Certifications
Based on a request from the Assistant U.S. Attorney's Office in Salt Lake City, UT, we provided
information about single-family lenders with high default rates. We then reviewed the available
case binders for 38 loans for which the Federal Housing Administration (FHA) had paid claims that
were underwritten by City First Mortgage Services, LLC. We completed the review and referred
alleged violations to the U.S. Department of Housing and Urban Development's (HUD) Office of
Program Enforcement for action under the Program Fraud Civil Remedies Act of 1986.
The objective of FHA's mortgage insurance program is to help people undertake home
ownership. HUD insures lenders against loss on mortgage loans. These loans may be used to
finance the purchase of proposed, under construction, or existing one-to-four-family housing, as
well as to refinance indebtedness on existing housing. The program is authorized by section
203(b) of the National Housing Act as amended (Public Law 73-479, 12 U.S.C. (United States
Code) 1709 and 1715(b)).
HUD program regulations are in 24 CFR (Code of Federal Regulations) Part 203. HUD provides
program requirements in HUD Handbooks 4155.1, Mortgage Credit Analysis for Mortgage
Insurance, and 4155.2, Lenders' Guide to Single Family Mortgage Insurance Processing, among
others. HUD regulations at 24 CFR 203.255 state that direct endorsement lenders using FHA's
TOTAL Scorecard must comply with the TOTAL Scorecard User's Guide.
Office of Audit Region 10
909 First Avenue, Suite 126, Seattle, WA 98104
Phone (206) 220-5360, Fax (206) 220-5162
Visit the Office of Inspector General Web site at www.hudoig.gov.
A lender's claim for payment on a government mortgage insurance obligation is a false claim
within the coverage of the False Claims Act if that obligation was induced by a false or
fraudulent application (or supporting documentation) for the insurance or guaranty. Each person
who caused the application or supporting documentation to be submitted to the government,
knowing it to be false, is liable for the presentation of the false claim. The False Claims Act
applies to "any person who knowingly assisted in causing the government to pay claims which
were grounded in fraud, without regard to whether that person had direct contractual relations
with the government".
RESULTS OF REVIEW
On July 20, 2014, HUD filed a complaint under the Program Fraud Civil Remedies Act of 1986
against City First and its owner, alleging that they failed to follow FHA requirements when
originating and underwriting 11 FHA-insured loans. HUD alleged that this failure amounted to City
First's and its owner's submitting false certifications on the 11 loans.
City First and its owner disputed HUD's claims. However, to arrive at a mutually satisfactory
resolution of the matter without the expense and uncertainty of further litigation, City First and its
owner agreed to pay HUD $425,000. The settlement agreement did not constitute an admission of
liability or fault by any party.
We recommend that HUD's Office of General Counsel, Office of Program Enforcement,
1A. Acknowledge that the attached settlement agreement for $425,000 represents an amount due
HUD.
As of July 22, 2016, the settlement agreement of $425,000 had been reached, and it
represents an amount due HUD. Included in the settlement agreement is a repayment
agreement that explains $8,855 as due upon execution of the settlement agreement, with the
remaining $416,145 due in 46 monthly installments of $8,855 and a final payment of $8,815
expected by July 1, 2020. In accordance with HUD Handbook 2000.06, REV-4, the final
action target date will be set at July 31, 2020 (30 days from the final date on which
payment is expected). At issuance of this memorandum, HUD OIG will enter a
management decision into HUD's Audit Resolution and Corrective Action Tracking
System, along with any supporting payment information received to date.


The kart racer is arguably one of the best gaming genres ever devised; almost no one can deny its charms. That being said, few companies have been able to put all of the best qualities the genre purports into one product. In fact, even though Nintendo and SEGA have each put out excellent kart entries this generation (the best currently available), the golden years of the kart racer seem to be behind us. It is into this somewhat tired environment that Sony and United Front Games have launched ModNation Racers - an innovative title that's equal parts kart racer and artist's canvas.
First and foremost, in order to be a great kart racer a game needs to have awesome tracks, inch-perfect controllability, and fun power-ups. In ModNation Racers' case, it's nailed two out of three. The tracks included in ModNation Racers are interesting to look at, challenging to master, and nicely varied. The developers did a great job creating tracks that hold the action perfectly and are a lot of fun to race. Obstacles such as cones, pylons, exploding barrels, and standing water will keep you honest, while shortcuts, boost pads, and clever ramps encourage experimentation. There's no doubt that the tracks in ModNation Racers will test you and keep you coming back for more.
Also extremely cool is the ability to create and share your own tracks with the ModNation community at large. Hopping into the track editor, which is made up of robust yet super-accessible tools, you can have a decent track made within minutes. Laying track, adding trees and buildings, changing backgrounds, and putting in awesome set-pieces is about as easy as driving along in your kart - you really don't have to be savvy in order to create some cool stuff, almost instantly. If you feel like sitting down for an hour or more to create a masterpiece, you can meticulously put together an excellent track, perhaps even getting others to download it, becoming a top-rated, even featured track. Sharing tracks with friends and the community is a great way to keep your game fresh. Additionally, sharing can be very rewarding, especially as more and more people pick it up and praise your work. That's right; whether they're your creations or belong to someone else, the ability to vote on tracks and leave comments is a very effective way of separating the wheat from the chaff.
Of course, what's the use of great courses to race in if the controls are terrible. Thankfully, the controls in ModNation Racers are very precise and quite enjoyable. The game's accessible yet tight control scheme means it's user-friendly for novice players as well as finely-tuned for expert gamers. Whether you're drifting around corners, boosting through a straightaway, or side-swiping opponents, the act of racing is masterfully translated to the controls. I especially enjoyed linking drifts and side-swiping the competition. Not only are the controls great for racing, but they are perfectly suited to navigating the menus and implementing customization tweaks. Despite the lack of a mouse, the controls are nearly ideal for whatever in-game task you want to perform.
Unfortunately, the power-up system isn't quite where it needs to be, especially when compared to the quality of the rest of the game. It's not so much that the power-ups are bad as they aren't well balanced, so they become a bit too powerful. I actually really like unleashing the rocket swarms and sonic booms, I just don't think they're appropriately countered and end up taking away more than they add to the game.
In ModNation Racers, cruising over a box is just the beginning of unleashing fury. The developer's decided that holding onto the power-up should reap greater rewards for players. As such, every time you pick up a power-up drop your current weapon will morph and become more powerful (to a max level of three). This essentially causes not only more damage to enemies but also increases weapon range and even includes additional, more potent secondary properties. While this is a great idea that's pretty well-implemented whilst racing against humans, it is thwarted by a very poor defensive counter. Rather than picking up defensive power-ups or items to combat an enemy's attack, you'll have to bring up your shields. Sounds simple enough, but trying to time the shields is a pain. This is only made worse because there is just an audio and no visual prompt of the impending doom.
Once you do get the timing down, there's still a lot of work to be done. Because weapons shot at you are varied, often stopping the initial onslaught isn't enough - you'll have to maintain shields up until the threat has completely passed. This wouldn't be such a big deal except for the fact that bringing up shields will use up a lot of your energy pool, the same energy pool used for turbo boosts. Consequently, activating the countermeasure means you'll use your turbo boost very infrequently, which shifts the game's emphasis from high-speed, breakneck racing to that of more conservative, patient racing. Also, weapons tend to be deployed by multiple racers at the same time, so getting past one or two weapons means you'll likely fall to a third due to a lack of stored up energy. This is very frustrating, especially against AI racers that seem to generate max power-ups randomly, all together, and at the worst times. This ends up injecting an item-induced rubber-banding into the game that's not particularly enjoyable. The shield system isn't well done and it isn't nearly as fun or rewarding as using a banana to take out a red shell.


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The History Cache Podcast
https://feed.podbean.com/historycachepodcast/feed.xml
History better than fiction. The History Cache podcast excavates through the deepest interiors of the human experience with in-depth research, and an intelligent narrative that weaves history with storytelling. A history podcast crafted for the most curious of minds.
Joe Carstairs: The Fastest Woman on Water Part 1
Joe Carstairs is remembered for being the fastest woman on water in the 1920s. She raced power boats, won trophies, and loved adventure and speed. But her life was so much more than races and fast machines. Born in 1900, Joe was a British eccentric, an heiress, openly a lesbian, and shed many gender conformities of her day.
She served with the American Red Cross in France during WW1, established the X Garage, a chauffeuring business employing a staff of all female drivers and mechanics who had learned their skills while serving during the war, and after receiving some notoriety from racing, Joe bought Whale Cay, an Island in the Bahamas, which she ran almost as if it were her own country.
Her life was so full and colorful it became clear early on that this would have to be a two-part series. This is part one of a deep dive into the relentlessly fascinating life of Joe Carstairs, the fastest woman on water.


Elmer will help you study for your amateur radio exams. Elmer covers all elements, and prepares actual sample exams. Each exam is graded, and you get to see which questions you missed, and the correct answer. After you've practiced using Elmer, you'll be all set to take your written exam!
Elmer creates sample tests for you to take. Each test is prepared from the exact same question pool as is used to generate the real ham exam you'll end up taking. Each section of the prepared exam includes exactly the same number of questions as does a real amateur exam. So once you master the sample exams prepared by Elmer, you'll be assured of passing your written exam!
The new RF Exposure questions are also included, along with the relevant diagrams.
Elmer also keeps track of each question you correctly and incorrectly answer, and focuses on those questions you've missed when preparing new practice exams. This lets you concentrate on the questions you need additional practice with, allowing you to master the questions more quickly!


Title: Medical Resident Company: Knox Cardiology Practice Location: East Hartford, CT EAST HARTFORD, CT, August 25, 2015, Dr. Marcia Louisa Goodman, Medical Resident with Knox Cardiology Practice, has been recognized by Elite American Health Professionals for dedication, achievements, and leadership in cardiology and nursing.
Title: Book Author Location: San Ramon, CA San Ramon, CA, July 27, 2015, Daisy M. Rodriguez, Book Author, has been recognized by Elite American Health Professionals for dedication, achievement and leadership in writing.
Title: Clinical Liaison Company: Kindred Healthcare DIAMOND BAR, CA, Elizabeth Ava Camarillo, Clinical Liaison for Kindred Healthcare, has been recognized by Elite American Health Professionals for dedication, achievements and leadership in health services.


Fauna of Nagarhole National Park : Four-horned Antelope (Tetracerus quadricornis) , Indian Palm Squirrel (Funambulus palmarum) also known as Three Striped Palm Squirrel, Indian giant squirrel ( Ratufa indica ) or Malabar Squirrel, Flying squirrel ( Biswamoyopterus biswasi) , Slender loris (Loris tardigradus), Royal Bengal tiger (Panthera tigris or Panthera tigris bengalensis), Sambar (deer) , Porcupine , Wild Boar , Panther , Pangoline , Otter, Striped necked mongoose (Herpestes vitticollis), Small Indian Mongoose (Herpestes javanicus), Common Mongoose (Herpestes edwardsi) , Bonnet Macaque (Macaca radiata) , Sloth Bear (Melursus ursinus), Barking Deer (Muntjac) ,Mouse Deer (Chevrotain), Spotted Deer ( Axis axis) , Common Langur (Hanuman Langur or Presbytis entellus), Wild Dog, Jackal , Civet Cat , Gaur and Elephant.
Birds of Nagarhole National Park : Peafowl ( Pavo cristatus) , Common Babbler(Turdoides caudata ), Reed Warbler, Bea-eater, Red-whiskered Bulbul ( Pycnonotus jocosus ) , Red-vented Bulbul (Pycnonotus cafer) , Brown dove, Blue-winged Parakeet ( Malabar Parakeet or Psittacula columboides) , Alexandrine Parakeet (Psittacula eupatria) , Ring-Necked Dove (Streptopelia capicola), Spotted Dove (Streptopelia chinensis), Malabar Grey Hornbill ( Ocyceros griseus ) , Malabar Pied Hornbill (Anthracoceros coronatus) , Crested Hawk eagle ( Nisaetus cirrhatus cirrhatus) , Crested Serpent Eagle ( Spilornis cheela or Kanmuri-washi ) , Tawny Eagle (Aquila rapax ) , Blyth's Myna (Sturnus malabaricus blythii) , Small Minivet ( Pericrocotus cinnamomeus ) , Lorikeets, Blossom-headed Parakeet (Psittacula roseata) , Rose-ringed Parakeet (Psittacula krameri), Southern Treepie (Dendrocitta leucogastra) , Green Imperial Pigeon (Ducula aenea) , Malabar Trogon ( Harpactes fasciatus ) and Bar-winged Flycatcher shrike ( Hemipus picatus ).
Reptiles of Nagarhole National Park : King Cobra, Spectacled cobra ( Common cobra or Naja naja), Banded Krait (B. fasciatus), Bamboo viper ( Trimeresurus stejnegeri ) , Pit viper, Russell's viper, Indian Rock Python (Python molurus ), Monitor Lizard, Tortoise and Toads.


Fish oil supplements can be enough to treat the different needs of the skin. Especially problematic skin that suffers from dryness, acne, sensitivity, eczema or rosacea. The essential omega-3 fatty acids that come from salmon, anchovies or sardines, have proven to reduce the appearance of redness and the affected capillaires on the face. EPA can also be found in some fish oils, which is known to affect the build-up of sebum that leads to acne. Other assets of omega-3 fatty acids can protect skin from sun damage, reduce wrinkles and supply hydration. Some fish oil supplements are also a great source of vitamins A, D and E.
Additionally, fish oil also benefits hair by stimulating growth and provides hair with strength, shine, nourishment and moisture. Not to mention the several health benefits – from boosting memory, improving immunity, blood circulation and weight loss (in combination with a good diet and regular exercise) to reducing inflammation and the risk of heart diseases.
Consider going for a good quality supplement as frequent doses of the high level of toxins found in some fish can be dangerous.
Pure, high-potency fish oil supplement packed with DHA and EPA that naturally brightens and evens out skin tone and hydrates skin by supporting detainment of the natural moisture.
Advanced and all-inclusive dietary supplement that provides antioxidants to support a vigorous immune system and a healthy-looking, clear skin with an even tone and texture.
This particular supplement is derived from the purest and most powerful of fish oils (wild sockeye salmon) designed to elevate mood, support cardiovascular health, regulate weight and benefit skin and hair with a healthy and nourished complexion.


Electrical load calculations are based on many sections of the NEC®. Even when the designer performs calculations on a daily basis the designer must refer to many specific references in the Code to assure proper deductions and adjustments are made. This process can be an overwhelming and time-consuming task.
FlashWorks takes the work out of the calculation process!
Calculations can be performed as fast as one can enter the information into the predesigned entry screens. A click of the mouse and the Calculation is complete, and displayed on the screen. Then with the selection of Panel Sizing the panels can be determined. Parallel conductors and conduits are sized. Finally, one can determine the short circuit calculation for the AIC rating of the overcurrent protective device.
How does FlashWorks help me with Electrical Service Calculations?
FlashWorks is designed for use by licensed professionals in the Electrical Industry - Licensed Electricians, Electrical Contractors, Engineers, Architects, Inspectors, Building Code Officials.
Three Phase and Single Phase panel balancing.
As fast as you can type in the information, follow the on screen instructions, click on the button and Flash it Works! continue by entering circuit the loads, names, answer a few questions about the loads and one more click the conductors, the conduit, branch circuit breakers are sized accordingly and displayed on the panel schedule screen and print the results.
For conductors up to #6 AWG and boxes up to 100 cubic inches. Step by step instructions for conductors, equipment grounding conductors, devices and fixtures. Then choose and compare box selections.
Menu driven —not a spreadsheet program.
Similar occupancy-open the existing file, make the changes, click calculate and Flash-it-Works!
Clients across the U.S. and Mexico.
Building Code Officials use it to check submitted Electrical permit calculations.
Charles Pardue, President Electrosoft, Inc.
Chuck has 45 years in the Electrical industry starting out as IBEW JATC Joint Apprentice and Training Committee apprentice, progressing to Journeyman Electrician, Licensed Master Electrician/ Electrical Consultant/ Licensed by the State of Florida Electrical Contractors Licensing Board as a Continuing Education Course Provider for Electricians. During his career was a graduate teaching assistant (Teaching Electricity for the Construction Contractor) while finishing his Masters Degree in Building Construction and then visiting lecturer at University of Florida ME Rinker School of Building Construction. He is an approved Electrical Craft Trainer by the National Center for Construction Education and Research. Taught the fourth year Non-Joint Electrical Apprentice program at Santa Fe College, (Gainesville, FL.). Serves as a subject matter expert in the test development field developing electrical licensure exams for the U.S. for several major test development and exam providers. Responsible for Building Construction/infrastructure and maintenance NF/SG VA HealthCare System as Chief Hospital engineer at Lake city VA Medical center, Lake City, FL.


Is this Your First Time Time Visiting Ashley Stucki Edgar's Website?
Welcome! We invite you to register now; it's free, only takes a moment, and gives you immediate access to customizable search tools that will make it easy to find the home of your dreams. You will also be able to save, share, or request a private viewing of any home that interests you in a single click. Want to make it even easier? Visit our how-to page and discover how to bypass the search altogether and have listings sent directly to your email address.
Austin is home to a thriving economy, captivating scenery, an active entertainment and nightlife scene, countless parks, delicious restaurants, tempting shopping destinations, and, most of all, some of the most desirable homes in the United States. The Ashley Stucki Edgar team wants to help you find the perfect home in the perfect neighborhood for your lifestyle. Use our search tools to generate a list of possibilities, or call us today for the expert, personable, and personalized attention that has made Ashley Stucki Edgar one of the most successful agents in Austin and statewide.
Hancock Cottage Austin corporate rental Ranch House & optional separate Petite Suite studio in a safe, established neighborhood with tree-lined streets. Relax on the covered patio or walk in the nearby park. Designer remodel with open floor plan, abundance of natural light. Concrete and oak hard-wood floors. Beautifully landscaped backyard with large trees. Includes TVs/DVD, WiFi. Close to UT, Capitol, Downtown. FULLY FURNISHED, INCLUDES LANDSCAPING SERVICE.
I was searching for a Property and found this listing (MLS® #5460093). Please send me more information regarding 3307 Greenlawn Pkwy, Austin, TX, 78757. Thank you!
I'd like to request a showing of 3307 Greenlawn Pkwy, Austin, TX, 78757 (MLS® #5460093). Thank you!
Based on information from the Austin Board of REALTORS® (alternatively, from ACTRIS) from April 24th, 2019 at 12:31pm CDT. Neither the Board nor ACTRIS guarantees or is in any way responsible for its accuracy. The Austin Board of REALTORS®, ACTRIS and their affiliates provide the MLS and all content therein "AS IS" and without any warranty, express or implied. Data maintained by the Board or ACTRIS may not reflect all real estate activity in the market.
If you would like to talk with Ashley or one of her assistants, please call 512-217-6103 and we will be happy to assist you.


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Emotion Detection Completed by Artificial Intelligence
Emotion Detection is an ability that has set humans apart for many years. We are social animals, and our ability to interpret emotions on such a complex level is something that is truly next-level. Unfortunately, many such as those with Autism, Asperger's syndrome, or many other disorders do not have…
Pneumonia is a disease that has greatly plagued humanity. Pneumonia is a bacterial infection that causes the air sacs of the lungs to become greatly inflamed and you can get a cough with phlegm, fever, chills, and many other unpleasant symptoms. During the COVID-19 Pandemic, patients who have died have…
The Prairie of North America
Today, when we think of the different biomes facing extinction, it probably goes along the lines of Rainforest, Coral Reefs, Temperate Forests. However, the most endangered ecosystem in the entire world is the tallgrass prairie, native to North America.
Historically, the prairies of North America covered land all the way…
My experience with the Canadian Geographic Challenge
This year, I got the amazing opportunity to compete in the Canadian Geographic Challenge. It was something that I'd been looking forward to doing for a very long time. The Geo Challenge was one of the most prestigious Geography Competitions for Grade 7–10's throughout Canada. Hosted by Canadian Geographic Education…
How are new vaccines really created?
Over the past month and a half, most of us have been stuck inside. The only news that we've received about the novel coronavirus is that life can resume to normal once a vaccine has been generated. This really got me wondering, what do we need to create a vaccine…
Building a Basic Convolutional Neural Network.
In 2019, 38,000 people died because of car accidents. Out of these 38,000, 50 people died in Tesla Cars. Now, you may begin to think that I'm vouching for Tesla, but that's not it. Tesla is not only a car company, but uses groundbreaking software as well. Tesla has achieved…
Artificial Intelligence: Can we really solve problems, and why it will help society, and further aid our evolution as a species.
We have a world where we have many different problems. Global Warming, where our Earth is rapidly warming, we are losing biodiversity, and our planet will soon become an abysmal apocalyptic wasteland. Cancer and antibiotic diseases, which are claiming so many lives, and the death toll is only rising. …


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The highly focused acoustic energy creates thermal coagulation zones at 3 different depths. Wound healing response results in the formation of new collagen thus providing longer term tightening of the skin. There is no down time associated with this non invasive procedure.
Which areas can be improved with the 3D HiFU Face?
This treatment is fantastic for overall skin tightening and rejuvenation as well as brow lifting, jowel line lifting, naolabial fold redcution and peri orbital wrinkle reduction.
For clients in their 30s it is typically used to stimulate collagen production and hence help delay the ageing process.
Clients in their 40s and 50s are the most common age group who have this treatment.
Generally, a noticeable improvement in your facial contouring and fine lines and wrinkles will be visible within a 4 week period, whilst further improvement in facial skin tightening and wrinkles will be reportedly seen from 6 weeks to 12 weeks post treatment.
Can I combine 3D HIFU with other treatments?
3D HIFU is a stand alone treatment.
The HIFU handpiece is placed on the skin and held in one area at a time. You will experience a slight vibration and warmth whilst the energy is being penetrated. The handpiece will then be placed on the next area of treatment. It may feel slightly uncomfortable around the jawline but generally this treatment is pain free. This can be discussed at consultation.