Colorado medical marijuana dispensaries in Frisco are permitted to sell medicinal marijuana strains, edibles, THC high concentrates and other medical marijuana products and services to verified MMJ patients that can furnish an official Colorado medical marijuana card, which signifies that the MMJ patient has received a doctor evaluation and MMJ referral.
Frisco, CO is a small ski/snowboard mountain town or city will a population of approximately 2,500. Medical marijuana dispensaries in Frisco Colorado see a good deal of business from tourists or visitors from other parts of Colorado who are in Frisco to enjoy the world renowned skiing or snowboarding near Frisco, Colorado. Frisco is in close proximity to four major ski resorts - Arapahoe Basin (AKA A-Basin), Breckenridge, Copper Mountain and Keystone. To be sure, these popular ski resorts attract Colorado MMJ patients from all over the state.
Browse Colorado Medical Marijuana Dispensaries in Frisco Below.
With Colorado's emerging medical marijuana industry, Frisco will no longer be know only as a great ski destination, but also as home to quality Colorado medical marijuana dispensaries or cannabis clinics that serve Colorado MMJ patients in and around the city of Frisco.
Didn't find the medical marijuana dispensary or cannabis clinic that you're searching for? Browse Colorado medical marijuana dispensaries in Adams County, Denver, Boulder, Fort Collins, Greeley, Durango, the Western Slope and other Colorado towns, cities and counties by clicking the link below.


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Google Pixel 6 Pro 5G Dual SIM
Google Pixel 6 Pro 5G Dual SIM 12GB/512GB, Stormy Black Single Nano SIM + eSIM
In Stock Now — 10+ Available
Stormy Black
Dual SIM (single nano-SIM and eSIM)
OS: Android 12
Display: 6.7 inches 120Hz QHD OLED (1440 x 3120)
Brand: Google / SKU: 368032 / Mfr: AP_PIXEL6PRO_12GB512GB_BLACK / EAN: 0810029930710
12GB/128GB, Cloudy White Single Nano SIM + eSIM
Google Pixel 6 5G Dual SIM
8GB/128GB, Kinda Coral Single Nano SIM + eSIM
8GB/128GB, Sorta Seafoam Single Nano SIM + eSIM
12GB/128GB, Stormy Black Single Nano SIM + eSIM
8GB/128GB, Stormy Black Single Nano SIM + eSIM
Google Pixel 6 Pro 5G Dual SIM Network Compatibility
Supported Bands : 5G Bands 71/12/28/5/8/3/2/1/41/7/78/77, LTE Bands 1/2/3/4/5/7/8/12/13/17/18/19/20/25/26/28/29/30/32/38/39/40/41/46/48/66/71, 3G/HSPA Bands 6/5/8/4/2/1
Google Pixel 6 Pro 5G Dual SIM Description
5G service not available on all carrier networks or in all areas. See g.co/pixel/networkinfo for info.
The Pixel 6 offers excellent value for money, a great camera and fast AI capabilities due to the custom-built Google Tensor chip. The Pixel 6 Pro takes all of that further and makes the Pro an excellent flagship phone that is still more affordable than some of its competitors.
Tom's guide described the Pixel 6 Pro as the best Android camera phone and no wonder: The Pixel 6 Pro has a triple camera with a 50MP wide lens, a 48MP telephoto lens with 4x optical zoom and a 12MP ultrawide lens. The phone takes gorgeous pictures that you can edit directly on your device with the Tensor chip enabled applications that Google has developed for the Pixel 6 Pro.
The Pixel 6 Pro has a 6.71" 1440x3120 LTPO AMOLED display. Due to the 30W fast charging you can charge the device up to 50% full in as little as 30 minutes. On top of the power given by the Tensor chip, the phone has 12GB of RAM making it a versatile workhorse.
The phone is pleasantly unique in its form factor and features excellent cameras, beautiful display, plenty of power and great software and applications built in.
Waterproof Rating: IPX8 dust/water resistant (up to 1m for 30 mins)
Chipset: Google Tensor (5 nm) Titan M2™ security co-processor
CPU: Octa-core
Main Camera: 50 MP, (wide), PDAF, OIS, 48 MP (telephoto), 12 MP, (ultrawide)
Video Recording: 4K@30/60fps, 1080p@30/60/120/240fps; gyro-EIS
Selfie Camera: 11.1 MP, Auto-HDR, 1080p@30fps
No Memory Card Slot
WLAN: Wi-Fi 802.11 a/b/g/n/ac, dual-band, Wi-Fi Direct, hotspot
GPS: Yes, with A-GPS, GLONASS, GALILEO, QZSS, BDS
USB Power Delivery 3.0
Networks: [5G sub-6 GHz]17 Model GLUOG GSM/EDGE: Quad-band (850, 900, 1800, 1900 MHz) UMTS/HSPA+/HSDPA: Bands 1, 2, 4, 5, 6, 8, 19 LTE: Bands B1/2/3/4/5/7/8/12/13/14/17/18/19/20/25/26/28/29/30/32/38/39/40/41/42/46/48/66/71 5G sub-617: Bands n1/2/3/5/7/8/12/14/20/25/28/30/38/40/41/48/66/71/77/78 eSIM [5G mmWave + sub-6 GHz]17 Model G8VOU GSM/EDGE: Quad-band (850, 900, 1800, 1900 MHz) UMTS/HSPA+/HSDPA: Bands 1, 2, 4, 5, 6, 8, 19 LTE: Bands B1/2/3/4/5/7/8/12/13/14/17/18/19/20/25/26/28/29/30/32/38/39/40/41/42/46/48/66/71 5G sub-617: Bands n1/2/3/5/7/8/12/14/20/25/28/30/38/40/41/48/66/71/77/78 5G mmWave17: Bands n257/n258/n260/n261 eSIM
Google Pixel 6 Pro 5G Dual SIM Reviews
Which version is this?
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redpajama_set_name: RedPajamaCommonCrawl


text:
- By John Fitzhugh | August 20, 2019 at 9:33 PM CDT - Updated August 21 at 7:58 AM
GULFPORT, Miss. (WLOX) - Homelessness is a problem that cities across the country and across the Coast have struggled to cope with.
Gulfport will be testing a new program to try to combat the evident homelessness around the city. The city's police department is teaming up with several social service agencies to create a "Homeless Housing Hub."
The program is modeled after one that uses the police to identify the needs of the homeless and connect them to resources. Partners in the program include Open Doors Homeless Coalition, the Salvation Army, Goodwill, Mental Health Association of South Mississippi, and Feed My Sheep.
"Every day on a daily basis, we are engaging our homeless," said Gulfport Police Chief Leonard Papania. "Feed My Sheep is engaging our homeless. We know the client base, and what we're going to allow our officers now is to be connected to resources to help solve these problems."
"Homelessness is a condition, not a crime" Papania said after presenting the plan to the city council. "And we're looking at what can we do collectively instead of leaving it to this resource or to that resource."
"Reaching people where they are is critically important," said Mary Simons, director of the Open Doors Coalition. "The police department is already engaging with people. The police department does a fantastic job of serving and protecting people and marrying that with social services to then engage people in their permanent solutions allows people to then move forward in a really positive way."
It's a model that is already proving effective in Pascagoula. In the first year since the city established the hub, that program reduced homelessness by 47 percent. It continues to be successful, say officials.
"We've done some work in Pascagoula, and there's already been significant reductions of un-sheltered homelessness in Pascagoula," Simons said. "It was an outreach partnership between the faith-based organizations, Open Doors outreach team, and the police department."
Biloxi police have started to sit in on Gulfport city council meetings with an eye towards implementing a similar approach.
Across the Coast, homelessness has been cut in half since 2007. But in the last three years, the number of homeless has been stuck at around 200.
"If we can take some of those resources and target them to the people that don't necessarily meet the chronic definition but are in high need... and in some cases are at risk of dying on the street," Simmons explained. "If we can really target them, get them connected to the services they need and permanent housing, then we will see the needle move on that 200 and eventually move everyone who is outside, inside somewhere in a way that makes sense to them and meets their goals."
The group's goal is to effectively eliminate homelessness in Gulfport by next June.
Chief Papania has faith in the effort.
"I think there can be a relentless approach with the right resources," he said. "And we do it because we're morally driven to do it."
Copyright 2019 WLOX. All rights reserved.
Video located here: https://www.wlox.com/2019/08/21/gulfport-create-homeless-housing-hub/?fbclid=IwAR3B-5NQ7rES9Rz4KF2iWvPQTnN7eQVo2eb6FG2wDHxaA-DmpfrNsPJmAh4


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by Jay-Z
Album: 4:44 (2017)
Charted: 86
This song is titled after the 2016 American coming-of-age drama movie Moonlight, which was the first film with an all-black cast to win the Oscar for Best Picture. At the ceremony, the musical La La Land was initially announced as the winner of Best Picture. However, co-presenter Warren Beatty had been given the wrong envelope and when the mistake was realized, La La Land producer Jordan Horowitz came forward to announce Moonlight as the correct winner. Jay-Z told iHeart radio:
"The hook is 'We stuck in La La Land. Even if we win, we gonna lose.' It's like a subtle nod to La La Land winning the Oscar, and then having to give it to Moonlight. It's really a commentary on the culture and where we're going."
The producer No I.D. samples Fugees 1995 single "Fu-Gee-La." DJ Khaled borrowed from the same tune in 2016 for his Major Key track "Nas Album Done."
Directed by Master of None co-creator Alan Yang, the song's music video brings together a number of familiar faces to re-imagine the '90s sitcom Friends with an all-black cast. Atlanta's Lakeith Stanfield is Chandler; Insecure's Issa Rae is Rachel; Girl Trip's Tiffany Haddish is Phoebe; Thor: Ragnarok's Tessa Thompson is Monica; Get Out's Lil Rel Howery is Joey and comedian Jerrod Carmichael is Ross. Broad City's Hannibal Buress makes a cameo appearance as himself in which he criticizes the production, calling it "garbage."
Instead of opening with the famous "I'll Be There For You" by The Rembrandts, the theme song is replaced with Whodini's hip-hop tune "Friends."
Jay-Z's intention for the visual was to address the "cultural conversation" on diversity in the entertainment business. Tessa Thompson explained in a behind-the-scenes video for Tidal:
"We wanted to have a conversation about diversity inclusion, which is something that is really ripe in the cultural conversation at this moment and I thought to do it in an artful way, to be able to do it with such talented cohorts and in a way that it's creative and open to interpretation could be so interesting,
All of these classic television shows, these white television shows, where there's virtually no people of color represented and redoing all of the cast as people of color, I think it's really cool."
More songs from Jay-Z
More songs that are also the names of movies
More songs that use samples
More songs with videos inspired by TV shows
Lyrics to Moonlight
Jay-Z Artistfacts
Head FirstAerosmith
Geffen Records made history on June 27, 1994 when Aerosmith's "Head First" became the first major label song made available for exclusive digital download. Download speeds at the time were so slow it took around 75 minutes to download the track.
Brian WilsonBarenaked Ladies
Brian Wilson played Barenaked Ladies "Brian Wilson" at some of his concerts. He was "honored" by the song.
DarlinAvril Lavigne
Avril Lavigne said her Goodbye Lullaby track "Darlin" was "probably" the second song she ever wrote. The Canadian composed it when she was an unsigned 15-year-old living in Napanee, Ontario.
Killing An ArabThe Cure
"Killing An Arab" by The Cure was inspired by Albert Camus' book The Stranger.
Billie JeanMichael Jackson
Quincy Jones wanted to change the title of "Billie Jean" to "Not My Lover" so it wouldn't be confused with the tennis star Billie Jean King. Michael Jackson refused.
TrueSpandau Ballet
"True" by Spandau Ballet is about chief songwriter Gary Kemp's unrequited love for Altered Images singer and Gregory's Girl star Clare Grogan.
Lori McKennaSongwriter Interviews
Lori's songs have been recorded by Faith Hill and Sara Evans. She's performed on the CMAs and on Oprah. She also has five kids.
Michael BoltonSongwriter Interviews
Into the vaults for this talk with Bolton from the '80s when he was a focused on writing songs for other artists.
Gary Brooker of Procol HarumSongwriter Interviews
The lead singer and pianist for Procol Harum, Gary talks about finding the musical ideas to match the words.
Dan ReedSongwriter Interviews
Dan cracked the Top 40 with "Ritual," then went to India and spent 2 hours with the Dalai Lama.
Tanita TikaramSongwriter Interviews
When she released her first album in 1988, Tanita became a UK singing sensation at age 19. She talks about her darkly sensual voice and quirky songwriting style.


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HomeNDTVPakoda Sellers In Graduation Robes Detained Before PM's Chandigarh Rally
Pakoda Sellers In Graduation Robes Detained Before PM's Chandigarh Rally
By admin 14th May 2019 NDTV 0 Comments
People who had gathered at the venue of an election rally by Prime Minister Narendra Modi in Chandigarh witnessed a novel protest today, with a group of activists dressed in graduation robes turning up to sell what they termed as "Modiji ke pakode".
The protesters, however, failed to "sell" much of the fried snack they had brought along. Police personnel at the venue whisked them away before the event could even begin.
The protest was held in response to a controversial remark on employment made by PM Modi in an interview early last year. "If a person selling pakodas earns Rs 200 at the end of the day, will it be considered as employment or not?" he had said, dismissing criticism by opposition parties that the BJP government had failed to fulfil its pre-2014 promise of generating two crore jobs every year.
A video of the incident showed protesters at the rally shouting "Buy pakodas made by engineers" and "BA and LLB pakodas for sale" while being herded into an open police van. One of them, a woman sporting black-rimmed glasses and an Oxford cap, was particularly scathing in her criticism of the central government's achievements. "Modiji has given us new jobs through his unique pakoda employment scheme. That is why we have come to show our appreciation with pakodas. After all, there is no better way for our educated youth to make a living," she was heard saying.
PM Modi was widely criticised for his remark in the months that followed, with opposition parties citing it as proof that the BJP-led government wasn't serious about addressing the country's unemployment problem.
Congress chief Rahul Gandhi said it was sad how PM Modi had come down from launching ambitious schemes such as "Make in India" and "Start-Up India" to advising the country's youth to sell pakodas for a living. Rashtriya Janata Dal leader Tejashwi Yadav, on the other hand, wondered who would be left to eat the snack if every citizen of the country started selling them.
Former Finance Minister P Chidambaram said begging could also be counted as unemployment by the same logic.
A report leaked earlier this year stated that the country's unemployment rate — 6.1% — is at its highest since the 1970s. A controversy followed, forcing the government to clarify that the figures cannot be taken at face value because they haven't been verified.
A new report released last month said that 50 lakh people have lost their jobs ever since PM Modi announced an overnight ban on high-value currency in November 2016.
PM Modi was in Chandigarh to support BJP candidate Kirron Kher ahead of voting on Sunday. The results will be declared on May 23.
Get the latest election news, live updates and election schedule for Lok Sabha Elections 2019 on ndtv.com/elections. Like us on Facebook or follow us on Twitter and Instagram for updates from each of the 543 parliamentary seats for the 2019 Indian general elections. Election results will be out on May 23.
https://www.ndtv.com/india-news/lok-sabha-elections-2019-pakoda-sellers-in-graduation-robes-detained-before-pms-chandigarh-rally-2037625
Bill To Remove Pakistan As Major Non-NATO Ally Introduced In US Congress
Terrorist Killed In Encounter Identified As Top LeT Commander
Trump's Son-In-Law Calls Robert Mueller Probe Worse Than Russian Meddling


Students in the 3rd grade DLI program at Todd created their own Reading Rainbow reviews for books they love. Mrs. Ash helped students carefully select their books and write their reviews in Spanish. She showed them examples of the Reading Rainbow kids doing professional reviews for inspiration. Mrs. Gagner came in to teach the students how to do a Reading Rainbow review by showing students how to use the Green Screen and app Do Ink to create their own videos. Students then recorded content with the green screen, searched for an image of their book on Google, and entered Do Ink to put the whole video together. Mrs. Ash shared the videos with families on Class Dojo and the district DLI page. The students did a wonderful job!


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Q: Help in identifying a novel about a black US president I've been told from my father about a novel or short story with the following plot: in the US, someone finds out (probably through statistics or similar plot device) that there's a recurring temporal pattern in presidential assassination attempts. The same algorithm predicts that the next president will be assassinated. In order to "solve the issue", the election is steered so that the elected president is a black man, but the prediction turns out not to hold.
I have no idea how to find something like this. The novel is most likely from the '60s or '70s, and as I said, it might well be a short story.

A: It's "The 1980 President", a short story by Miriam Allen deFord; first published in Galaxy Magazine, October, 1964, available at the Internet Archive; reprinted in deFord's collection Elsewhere, Elsewhen, Elsehow and in the anthology American Government Through Science Fiction. Translated into Italian by Cesare Scaglia, it appeared in Urania N. 364 (with a cover date of 27 dicembre 1964) as "Le date maledette" ("The Cursed Dates").
The story is based on the odd fact that every U.S. President elected in a year divisible by 20, from William Henry Harrison (1840) to John F. Kennedy (1960), died in office, either by assassination (Lincoln, Garfield, McKinley, Kennedy) or from natural causes (Harrison, Harding, Roosevelt). This historical oddity would have been in the news after the Kennedy assassination (November 1963) and presumably around the time deFord wrote her story, in which the "curse" is taken seriously. The presidential nominees are unaware of the curse until they are briefed by the mysterious Man in Brown:

What I want to say to you both, in the presence of each other, can be put in very few words. Whichever of you wins in November will probably die soon." [. . .] "Because of your age?--no, not because of that," he said, "though that was the real reason why both of you, though naturally you were both highly qualified otherwise, were nominated so easily on the first ballot—and also the reason that both of your vice-presidential candidates are such outstanding figures. [. . .] "Every twenty years, for 140 years now, the successful candidate for president of the United States has either been killed or has died of natural causes while in office. This is 1980."

I won't spoil the story any more than I already have by telling you how the curse was foiled, but it was:

The new president (every American knows now which one it was, and how good a president the successful candidate became) had thus been elected [. . .] Both Robert John Woodruff and Lynn Bartholomew, as we know, are alive and usefully active today. But it had taken the Crisis of 1980 to induce the two major parties to nominate respectively a Negro foundation head and a Senator who happened to be a woman.

redpajama_set_name: RedPajamaStackExchange


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    <string name="hello_world">Hello world!</string>
    <string name="action_settings">Settings</string>
    <string name="Access_token">Access token</string>
    <string name="Access_token_secret">Access token secret</string>
    <string name="Get_started">Get started</string>
    <string name="Tweet">Tweet</string>
    <string name="Cancel">Cancel</string>
    <string name="Whats_on_your_mind">Whats on your mind?</string>

    <string-array name="quotes">
        <item>Achieving excellence 140 chars at a time.</item>
        <item>I\'m on a diet. Broadband diet.</item>
        <item>I\'m designed according to the guidelines.</item>
        <item>Welcome to Twitter the way it should be.</item>
        <item>Made in Sweden.</item>
        <item>I\'m a mix of complementary colors.</item>
        <item>I\'m an owl.</item>
        <item>Twootoot..? Hoothoot.</item>
        <item>My font is Kaushan Script by Pablo Impallari.</item>
        <item>I\'m not a hunting trophy. For real.</item>
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redpajama_set_name: RedPajamaGithub


On Friday, February 16, 2018, the Tenth Circuit Court of Appeals issued one published opinion and eight unpublished opinions.
Nunez v. Lifetime Products, Inc.
On Thursday, February 15, 2018, the Tenth Circuit Court of Appeals issued no published opinion and three unpublished opinions.
"I didn't know robots had advanced so far," a reader remarked after last week's post about how computers are displacing knowledge workers. What changed to make that happen? The machines learned how to learn.
This is from Artificial Intelligence Goes Bilingual—Without A Dictionary, Science Magazine, Nov. 28, 2017.
Artificial intelligence and machine learning is about 60 years old and has not had a great day in its past until recently. And the reason is that today, we have reached a scale of computing and datasets that was necessary to make machines smart. The new thing now is that computers can find their own rules. So instead of an expert deciphering, step by step, a rule for every contingency, what you do now is you give the computer examples and have it infer its own rules.
A really good example is AlphaGo. Normally, in game playing, you would really write down all the rules, but in AlphaGo's case, the system looked over a million games and was able to infer its own rules and then beat the world's residing Go champion. That is exciting, because it relieves the software engineer of the need of being super smart, and pushes the burden towards the data.
20 years ago the computers were as big as a cockroach brain. Now they are powerful enough to really emulate specialized human thinking. And then the computers take advantage of the fact that they can look at much more data than people can. AlphaGo looked at more than a million games. No human expert can ever study a million games. So as a result, the computer can find rules that even people can't find.
Thrun made those comments in April 2017. AlphaGo's championship reign was short-lived: it was unseated a mere six months by a new cyber challenger that taught itself without reviewing all that data. This is from "AlphaGo Zero Shows Machines Can Become Superhuman Without Any Help," MIT Technology Review, October 18, 2017.
Check out Kevin's latest LinkedIn Pulse article: Leadership and Life Lessons From an Elite Athlete and a Dying Man.
The Colorado Court of Appeals issued its opinion in Save Cheyenne v. City of Colorado Springs on Thursday, February 2, 2018.
The Colorado Springs City Council adopted a resolution approving a land exchange between the City, on the one hand, and the Broadmoor Hotel, Inc.; the Manitou and Pike's Peak Railway Company; the COG Land & Development Company; and PF, LLC (collectively, the Broadmoor) on the other hand. As relevant here, a 189.5 acre parcel within Cheyenne Park known as "Strawberry Fields" was transferred to the Broadmoor for construction of a private equestrian center on an 8.5 acre building envelope within the parcel. As a condition of the transfer, the Broadmoor is required to allow continued public access to Strawberry Fields, with the exception of the land within the building envelope. In exchange, the Broadmoor transferred to the City more than 300 acres of land and trail easements to be added to the City's park system.
Plaintiff, a local nonprofit corporation, filed suit, seeking a declaration that the resolution authorizing the land exchange was null and void, and injunctive relief preventing the land exchange. It also alleged a zoning violation. The City and the Broadmoor moved to dismiss under C.R.C.P. 12(b)(5), for failure to state any claims, and under C.R.C.P. 12(b)(1), arguing that the zoning challenge was unripe. The district court granted the motion.
The court of appeals first rejected defendants' motion to dismiss plaintiff's appeal based on mootness. Plaintiff argued that the resolution was an ultra vires act of the City Council because Cheyenne Park had previously been dedicated as a public park, and as a consequence, the City holds the park in trust for the public and cannot convey the park's land. The Court concluded that no valid statutory dedication of Cheyenne Park occurred, and that any common law dedication was abrogated. The City Council had the power to convey Strawberry Fields when it authorized the land exchange.
Plaintiff next argued that under C.R.S. § 31-15-713(1)(a) no conveyance of the parkland could be made unless it was authorized by a vote in a public election. Colorado Springs is a home rule city and therefore in matters of local concern, a home-rule ordinance supersedes a conflicting state statute. The Colorado Springs City Code provides that land exchanges are to be reviewed by the City Council and approved by resolution. The Code provision applies, and the City was not required to hold an election before making the land transfer.
The court also rejected plaintiff's argument that the resolution and land exchange violated article XI, section 2 of the Colorado Constitution, which prohibits transfers of city property without consideration. Here, the City received consideration for the parkland.
Plaintiff next contended that the City Council's resolution approving the land exchange violates the City Charter. The Charter sections at issue only regulate granting franchises and leases on public property and city-owned parklands. The transaction here did not create a lease or franchise on City property, and these provisions do not apply to the conveyance.
Lastly, the court concluded that plaintiff's claim of zoning violations is not yet ripe for review. The record does not demonstrate that a final zoning decision has been made regarding the permitted uses of Strawberry Fields. The district court properly dismissed this claim.
The Colorado Court of Appeals issued its opinion in Brunson v. Colorado Cab Co., LLC on Thursday, February 2, 2018.
Colorado Minimum Wage Act—Colorado Wage Claim Act—Colorado Wage Order 31—Summary Judgment—Interstate Drivers.
The district court granted summary judgment in favor of Shamrock. It found that the Wage Order's language closely follows the federal Motor Carrier Act (MCA) exemption of the Fair Labor Standards Act (FLSA) and construed "interstate drivers" in accordance with federal interpretation. Thus, the district court concluded that "interstate drivers" includes drivers involved in interstate commerce even if their work is entirely within the state. The court further concluded that Brunson was an interstate driver and was, as a matter of law, exempt from the Wage Order's overtime pay requirements.
On appeal, Brunson contended that the federal interpretation of the MCA exemption does not apply to his state claims. The court of appeals determined that federal and state overtime pay exemptions are not identical or substantially identical. Further, the Colorado Department of Labor has published clear persuasive evidence of its intent to provide greater protections than those under FLSA. Therefore, the court concluded that federal case law's interpretation of "interstate drivers" does not apply to Brunson's state claims. Having determined that federal case law is not persuasive authority as to the meaning of "interstate driver," the court relied on the Department's interpretation of its own regulation in its Advisory Bulletin and construed the term "interstate drivers" to apply only to drivers whose work takes them across state lines. Thus, Shamrock did not "plainly and unmistakably" demonstrate that Brunson fell within the Wage Order's exemption.


Free Translation Online > Chinese > I live in Illinois and I have been signing since I was 4. How do I get certified to be an ASL Interpreter?
Question by Silver Sixx: I dwell in Illinois and I have been signing since I was 4. How do I get attested to be an ASL Interpreter?
I have a deaf brother and sister. I plan on going for a few courses in ASL since I usually revert to English. Does anyone know what steps I'd have to take to get certified and how much it'd cost?


On the occasion of the start of the negotiations for the COP21 in Paris, the EUBSSP has prepared an Issue Brief to illustrate the contribution of the EU Beet Sugar sector to the reduction of GHG emissions.
HOW DOES THE EU BEET SUGAR SECTOR ADAPT TO CLIMATE CHANGE AND HELP TO REDUCE GHG EMISSIONS?
Beet growing and processing are exposed to the positive and negative consequences of climate change which impose the development of different adaptation strategies. The greenhouse gases (GHG) – CO₂, CH₄ and N₂O – arising from beet growing and processing largely derive from the use of energy and agricultural inputs, in particular fossil fuels and fertilizers. However, beet growing is not only a source of GHG, but also a GHG sink via atmospheric carbon fixation and the sequestration of carbon in the soil, notably through the return of organic matter (crop residues). Finally, the reduction of fossil energy and of fertilizer use in both beet cultivation and processing through various good practices have led to tangible results in the reduction of GHG emissions and the mitigation of climate change.
Click here to download the Issue Brief.


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Strategic Planning & Update – November 2018 Roundtable
In late November, roundtable attendees gathered to hear updates on the Office of Community Empowerment and Opportunity's (CEO's) strategic planning process and to provide input on key strategic priorities as the process continues. The session also included presentations highlighting the themes of racial equity and economic justice. In 2013, CEO took the lead in launching the City's Shared Prosperity Philadelphia anti-poverty initiative, designed to alleviate poverty's most immediate effects and provide pathways out of poverty, especially for those facing the greatest barriers. As CEO approaches year five of this plan, it has begun the process of considering what comes next, including reaching out to Philadelphians from all backgrounds to ask for their input.
CEO's Executive Director, Mitchell Little and Dr. Argie Allen-Wilson, Director of Clinical Training, Couple & Family Therapy Department, Drexel University, and Founder/CEO of F.A.I.T.H. Inc., opened the discussion with a call for a commitment to courageous conversations as the first step to leveling the playing field. Dr. Allen-Wilson led attendees in an "Inclusion Revolution" exercise, saying that now is the time to turn to our connection with one another, while honoring our differences, to work towards Shared Prosperity.
Next, Mitch Little gave a strategic plan update, thanking attendees for their investment in our work up to this point. He highlighted the plan to shift CEO's approach from fighting and alleviating poverty to promoting mobility out of poverty, economic justice, and equity. CEO proposes to focus on four key roles under the new strategic plan: advocacy, evidence based programming, convenings, and data and research. The new direction builds on strengths that CEO has developed over the past five years, and responds to the challenges and changes that have taken place since the launch of Shared Prosperity Philadelphia, including uneven economic growth.
Attendees had the opportunity to share their thoughts on CEO's strategic priorities in small discussion groups guided by two groups of questions:
What should we keep our eye on? What are the key metrics, trends and potential opportunities/challenges that will define our collective work in the coming year?
Given our constraints, what changes in policy or procedures would you prioritize? What realistic city policy changes could have the most positive impact for individuals, families and communities challenged by poverty?
Roundtable attendees discussed a wide variety of issues and policies. Several tables suggested that CEO should keep its eye on employment and a living wage, a variety of housing issues, and the opioid crisis. For the second question several tables suggested prioritizing inclusionary zoning, just cause legislation, right to counsel and controlling tax breaks for developers. Other priorities for policy included local hiring, supporting returning citizens, and expanding access to child care, transportation, and healthy food.
James Crowder Jr., Senior Associate with PolicyLink, closed out the round table with a presentation on Advancing an Equity Agenda. The presentation helped everyone come to a shared understanding of the concepts of equality, equity and structural disparities, and offered examples of promising equitable development initiatives happening around the country. His presentation also highlighted the National Equity Atlas, an on-line tool developed by PolicyLink that allows users to easily access key demographic and economic indicators by race and ethnicity at the national, state and county level, and across major U.S. cities.
CEO's strategic planning process is expected to be completed in early 2019, with the publication of a final report that will be distributed at a summit to be held in early spring on the theme of economic mobility. We will begin sharing more details about the event in the coming weeks!


text:
Pinfluencer Launches Pin ROI Tracking System For Pinterest, Supports Integration With Google Analytics, Omniture & Coremetrics
Pinfluencer, a popular Pinterest analytics solution, is today announcing a new Pinterest ROI and Pin-to-Purchase tracking system for marketers and brands, as well as support for integrations with other analytics providers, including Adobe Omniture, Coremetrics, and Google Analytics.
With the update, businesses are now able to track specific ROI metrics like revenue per pin, visits per pin, and pageviews per pin, for example. The system offers brands, marketers, agencies, retailers and others a way to essentially track pins the way a traditional analytics systems track hyperlinks, allowing them to discover which of their pins are driving the most revenue for their business.
Pinterest's ability to directly impact revenue has been something of a hit-or-miss experience so far. Online retailer Zappos said in August that Pinterest contributes the smallest amount of revenue to its bottom line, as compared with Twitter and Facebook. Other studies have found the same thing: Pinterest sends traffic, but visitors don't covert to buyers. On the other hand, a report from e-commerce platform Shopify, claimed otherwise. In its study of 25,000 Shopify stores, the company found that Pinterest visitors were 10% more likely to purchase than those coming from other retailers' sites. The discrepancies may have to do with how the various brands are retailers are using, and tracking, their Pinterest-influenced sales, but they also have to do with how analytics systems tend to work – meaning, they attribute a conversion to the last click. Shoppers, however, may wait days or weeks in between a pin and a purchase – and even Pinfluencer can't capture this "intent" data yet, but it is creating the database that will help in those efforts in the future.
Pinfluencer CEO Sharad Verma tells us that, today, businesses are clamoring for a solution for tracking pin ROI, mainly so they can lobby for a marketing budget which includes Pinterest. "This ROI data – the revenue per pin – can then be used to make a case for Pinterest within the organization," Verma says. "Now we can put dollar values there for the first time."
The system crawls through Pinterest's website, categorizing all the pins pointing to pages on a Pinfluencer customer's own site. "We create a database of pin URLs and the landing page, or the product URLs, that each of these pins point to, then, we integrate with brands' revenue and analytics provider – it can be Omniture, Coremetrics, or Google Analytics," says Verma. "At the end, we know that this particular client pin drew 'X' amount in revenue, 'X' amount in purchase – actually correlating the data we get from the APIs [from the analytics providers] and the crawled database of pin URLs that we collect."
Over 50 retailers and brands have already tested the integrated analytics systems prior to today's formal announcement, including Martha Stewart, Ross-Simons, HauteLook, Build-a-Bear, Gemvara, and others which the company is not allowed to name. In October, Pinfluencer said these early beta testers saw an average of $0.46 in revenue per pin.
The company has also worked with 250 businesses since its August launch, including Gilt, Ann Taylor, Birchbox, Johnston & Murphy, 1-800-FLOWERS.com, GNC, Piperlime, Rent the Runway, Minted, Beau-coup, Shop It To Me, and wikiHow. Indicating the demand for such a solution, the company had raised $1.4 million in funding before it even opened its doors to the public.
Pinfluencer, while currently one to beat, has some competition in the space. Other startups, like bootstrapped Ohtootay, U.K.-based newcomer Pinalytics, Reachli (formerly Pinerly), PinLeague, Curalate, and others, are out there with their own Pinterest marketing solutions for businesses. But Verma points out that with his solution, retailers don't have to make changes on their end, like Ohtootay does with code embeds, for example. They can essentially just sign up to start tracking pin ROI.
While it's possible that further down the road, long after Pinterest debuts its own API, it could decide that it, too, wants to get in the analytics business. But Verma isn't worried. "We're not just an analytics product," he explains, "we're a promotions product." The company helps brands run contests, sweepstakes and other promotions on Pinterest, and is now brainstorming with its customers on even more initiatives like an email marketing solution that sends out personalized emails based on a user's pins, for example.
Interested businesses can now sign up for the ROI tracking solution here on Pinfluencer's homepage, where they can start with a free trial before converting to a paid plan.


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text:
The Great CNS Pile-On
When a Democrat or liberal commits a politically exploitable peccadillo, CNSNews.com floods the zone. It doesn't do that for negative stories about conservatives.
CNSNews.com tends to develop selective amnesia when it comes to reporting relevant details about its fellow conservatives. But when a Democrat or liberal does something it can exploit for its right-wing readership, CNS is ON IT.
Patrick Goodenough wrote disdainfully in a Feb. 5 article:
As President Trump completed his State of the Union address on Tuesday night, House Speaker Nancy Pelosi (D-Calif.) slowly and deliberately tore in half what appeared to be her copy of the speech, before tossing the bits of paper onto the desk.
"The American age, the American epic, the American adventure has only just begun," Trump said. "Our spirit is still young. The sun is still rising. God's grace is still shining. My fellow Americans, the best is yet to come. Thank you. God bless you, and God bless America."
Scarcely had the words left his mouth when Pelosi held up a sheaf of papers. She tore them in two, then – as seen from various camera angles – repeated the action three more times, before throwing down the stack of ripped pages.
Goodenough encapsulated CNS' right-wing bias by quoting three politicians commenting on Pelosi's act -- two of whom were Republicans but only one (Rep. Liz Cheney) was identified as such; the other, Dalia al-Aqidi, is identified only as running to unseat Democratic Rep. Ilhan Omar -- and, as it turns out, about whom Goodenough had penned a fawning profile the month before.
CNS followed up with more biased reporting in the form of attacks on Pelosi for her act:
Trump fangirl Susan Jones dutifully transcribed Trump's tweetstorm bashing Pelosi, touting how Trump was "retweeting some of the #PelosiTantrum criticism."
Melanie Arter featured how Trump White House official Kellyanne Conway claimed on Fox News that Pelosi's act "demonstrates that the Democratic Party has devolved into a petty, peevish and partisan party." In her lengthy summary of Conway's appearance, Arter did note whether Conway was ever asked if Trump's anti-Pelosi tweetstorm was an example of him being "petty, peevish and partisan."
Craig Bannister repeated how Jody Jones, who earned an invitation to the State of the Union address because his brother "was shot and killed by an illegal alien," went for the full-drama effect by declaring (on Fox News, natch) that Pelosi's speech-ripping "ripped our hearts out ... it just tore us up."
Managing editor Michael W. Chapman cheered how House Minority Leader Kevin McCarthy "mocked" Pelosi's "stunt" and responding with a "video on Twitter, in which he declares, 'Acquitted for life' and tears up what, presumably, are the articles of impeachment."
Bruce Truax wrote that "In reference to House Speaker Nancy Pelosi (D-Calif.) tearing up the president's speech on national television after the State of the Union on Tuesday, Sen. Tom Carper (D-Del) said he was surprised that Pelosi did not 'hit' Trump with the speech."
Chapman followed up on Goodenough's reference to Cheney by giving her her own article to rant that the speech-ripping allegedly showed that Pelosi is "unfit for office."
Finally, for some reason, editor in chief Terry Jeffrey felt the need to hunt down a Republican senator from North Dakota for his opinion of Pelosi's speech-ripping and then devote an article to said opinion, which could largely be summarized by his calling it "very, very, very odd."
That's a total of eight articles focused on a couple seconds of Pelosi ripping up a speech -- six of which were devoted exclusively to attacking Pelosi. Good thing CNS doesn't have to live up to the standards of fairness and objectivity its parent, the Media Research Center, demands from other media outlets.
CNS did it again a few weeks later, after Democratic Sen. Chuck Schumer said at an abortion-rights rally while the Supreme Court was hearing a case on the issue that Justices Neil Gorsuch and Brett Kavanaugh "have released the whirlwind and you will pay the price." CNS dutifully toed the Republican line by portraying Schumer's words as a threat against the lives of the justices and flooded the zone accordingly with the usual suspects for maximum right-wing outrage:
Sen. Schumer Threatens Pro-Life Supreme Court Justices; Rep. Scalise Asks: 'Where's the Media Outrage?'
Chief Justice Roberts: SCOTUS Won't Be Intimidated by Schumer's Threats
Republican Senator Says He'll Try to Have Schumer Censured for SCOTUS Threat
McConnell Reads Schumer's 'Shameful' Threats Into the Record; Schumer: 'I'm From Brooklyn'
Rep. Collins on Schumer's SCOTUS Threat: "The Only Ones 'Paying the Price' are the Unborn"
Pelosi Says She Agrees With Schumer That His Remarks About SCOTUS Justices Were 'Not Appropriate'
Landmark Legal Requests Senate Ethics Investigation of Schumer for Threatening Supreme Court Justices
Mark Levin: Schumer Should Be Disbarred, Admonished by Senate, Investigated by Ethics and DOJ
Rev. Graham: Schumer's Threats 'Can Feed Hate and Can Lead to Violence'
Five days after that, CNS pulled its usual trick of sending interns out to pester congressmen in a March 9 article by Bruce Truax in which he was forced to ask a Democratic senator what he thought of Schumer's remarks.
That's a total of 10 articles -- none of which note the fact that Schumer was simply repeating language that the justices themselves have used. As an actual news outlet (and Wonkette) pointed out, Kavanaugh attacked Democrats who opposed his nomination, claiming that they have "sowed the wind for decades to come. I fear that the whole country will reap the whirlwind."
Seems like relevant context, but CNS didn't tell its readers about it. Nor did it apparently report Kavanaugh's original remarks, let alone treat them as a threat.
By contrast, CNS published nothing about a threat by Republican Rep. Ken Buck in a video showing him holding an assault rifle and daring Joe Biden and Beto O'Rourke to take it away from him -- heavily implying he would shoot them dead if he did so.
When Democratic Rep. Rashida Tlaib -- whom it already despises and targets with highly biased reporting -- retweeted Parkland massacre survivor David Hogg criticizing a national day of prayer regarding coronavirus and calling for "immediate comprehensive action" instead, using a swear word in doing so, CNS was quick to flood the zone. Under the headline "Rep. Tlaib Retweets: 'F**k a National Day of Prayer'," Patrick Goodenough highlighted the tweet and noted that Hogg's original tweet included a clip of HUD secretary Ben Carson lecturing that "we've gotten away from prayer and faith a lot in this country."
CNS' Obama-Bashing Body Count Obsession
Snide Bias at CNS
At CNS, It's Buttigieg-Bashing Time
Democrats Face Bias At CNS
Goodenough didn't mention the fact that Hogg is a survivor of a mass shooting that killed several of his high school classmates, but he made sure to link to an earlier attack he wrote on "Muslim congresswomen" Tlaib and Ilhan Omar. CNS also made sure to use the most unflattering photo of Tlaib it could find.
Goodenough followed up the next day with an article featuring CNS friend and dishonest right-wing Catholic activist Bill Donohue attacking Tlaib and demanding that the House of Representatives reprimand her.
It was two days after that that CNS finally got around to telling more than one side of the story, in a blog post by Craig Bannister on Tlaib's "response to backlash over her retweet of a vulgar condemnation of the Sunday's National Day of Prayer for coronavirus victims declared by President Donald Trump." He also touted Donohue's demand for the House to reprimand her.
Finally, Donohue was granted his own column to rant further about Tlaib, insisting her walkback was not sincere:
Let me be clear, Rep. Tlaib: You are fooling no one. You not only have a record of offending people, your anti-Semitic comments have mobilized friends of mine like Rabbi Aryeh Spero to hold a sit-in at Rep. Nancy Pelosi's congressional office to protest your bigotry (and that of your fellow "Squad" member, Rep. Ilhan Omar). Your record of hate speech is incontestable.
You say your retweet "was not an attack on prayer." How lame. What you manifestly chose to do is attack the one day when Catholics, Protestants, Jews, Mormons, Muslims, and others come together in a national day of prayer. Your point was to insult us. Mission accomplished.
By contrast, when then-candidate Trump sent out a tweet with a picture of Hillary Clinton accompanied by a six-pointed star with the phrase "most corrupt candidate ever!" -- widely viewed as anti-Semitic -- CNS did only a single article (that apparently is no longer online) dedicated to Trump denying the image was anti-Semitic.
Now you know what passes for "news" at CNS.


Health Foods – Which Are NOT?
Buying foods in containers or packages can be confusing to many. Reading labels is overwhelming trying to sort out what really is good for us. The buzz words "healthy" and "natural" adds to the confusion, because of what they imply. For example sugar is a natural food; however the addition of sugar to packaged foods for the purpose of increased sales (for the sweetness) is not healthy. Learning to discern our food purchases is essential to eating well. What is even more critical is food given to children under the pretense of healthy and natural which is also deceiving. It is a red flag when a package contains those two words because the manufacturer wants us to make a purchase. Food that comes directly from the ground intact is the real deal – healthy and natural.
A package that has a paragraph of ingredients is a "put it back on the shelf" message.
Granola bars: very often the first ingredient is sugar.
Energy bars: sugars or artificial sweeteners can dominate.
Fruit flavored yogurts: high in sugars, which can be as much as 6 tsp per 8 oz container!
In these categories there are better options such as adding your own fresh fruits to yogurt and smoothies, which relies on fruits for natural sweetness, not added sugar like corn syrup, high fructose corn syrup or cane sugar. The important message is to eat mostly (80%) unprocessed foods. Buy fruits and vegetables fresh and eat with minimal cooking/processing. It does not take much time to chop a salad or steam veggies – really. Simply the largest percentage of foods we eat needs to be fruit and vegetables – that's it. To maintain hormone balance, wellness and longevity, this is the plan to follow now. In every case that I see as a naturopathic physician, nutrition is the gateway to health & wellness.


James Robb, GO GEORGE Manager, once again apologises to GO GEORGE passengers for any inconvenience. "We assure our passengers that we will continue to monitor the current situation closely and advise them timeously of any changes to service. As always, the safety of the public, our passengers, staff and vehicles is of utmost importance and is kept in mind when taking operational decisions," he said.


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text:
The Art of Suiseki
James J. Hayes
The literal translation of the Japanese word Suiseki (sue-ee-sek-ee) simply means water stone. However, in the language of the heart the meaning is far more complex. For the past 2,000 years artists, scholars and poets alike have devoted their entire beings attempting to capture the meaning and mystique of these extraordinary natural creations.
What is this strange power they possess that lures and seduces even the most skeptical? What lies behind the dreams and memories they evoke? And why does the encounter with this fascinating, all natural art form instantly remind us of our kinship with nature?
Japan's foremost Bonsai and Suiseki artist the late Yuji Yoshimura may have said it best, "The contemplation of a stone as a symbol of nature relaxes his sense of values. The importance of life in its simplest form is reflected his sense of values. The importance of life in its simplest form is reflected through the beauty, strength and character of the stone."
Unlike Chinese Scholar Rocks, where stones are extensively altered by man, the fundamental premise of Suiseki requires that a stone must be kept in "as found" condition. The only acceptable modification is a leveling cut made at the bottom of a stone for ease of mounting. The majority of these stones are exactly as I discovered them. The bases (daiza) for each stone in the display have been painstakingly hand-carved by the finest daiza carver in the United States, Mr. Richard Conrad of York, Pennsylvania. As you will notice, the most important characteristic of the daiza is the fact that it does not call attention to itself, it is simply the frame for the Suiseki.
In Japan, stones of this quality sell for many thousands of dollars. Obviously, the significant increase in worldwide popularity of the art form, the scarcity of collecting sites and the immense physical effort involved in collecting these stones have all contributed to this phenomenon.
In the past I have been invited to exhibit my collection at many prestigious events; The Philadelphia Flower Show, Longwood Gardens, The United States National Arboretum, and Philadelphia International Airport just to name a few. Initially, what I've seen from most viewers is a distinct look of skepticism. However, as with my first encounter, the skepticism quickly turns to awe, wonder, and profound new awareness. Hopefully, you too will have that same experience.


text:
Der Begriff Düsseldorfer Malerschule, auch Düsseldorfer Schule, bezeichnet das soziale und kreative Milieu sowie die Bildende Kunst einer Gruppe von Malern, die vor allem im 19. Jahrhundert – etwa von 1819 bis 1918 – an der Königlich-Preußischen Kunstakademie in Düsseldorf ausgebildet wurden, dort gelehrt, von Lehrern der Kunstakademie Privatunterricht genommen oder im nahen Umfeld der Kunstakademie gewirkt haben. In den Jahren 1828 bis 1837 war der Begriff von Romeo Maurenbrecher, August Hagen, Atanazy Raczyński, Friedrich von Uechtritz und Anton Fahne entwickelt und in die Publizistik eingeführt worden. Von der weiteren kunsthistorischen Forschung wurde er übernommen und näher bestimmt. Die Düsseldorfer Malerschule entwickelte sich zu einem ortsunabhängigen Phänomen und war nicht auf einen einheitlichen Stil beschränkt.

Die ersten Akademiedirektoren Peter von Cornelius und Wilhelm von Schadow prägten die anfänglich engere Ausrichtung der Lehranstalt im Sinne der Nazarenerbewegung und des Klassizismus. Die Themen, die sie nach der klassischen Genrehierarchie ordneten, umfassten die der Mythologie, des Christentums, wichtige historische Themen sowie die Landschaftsmalerei. In jener Zeit, die kulturgeschichtlich auch als Biedermeier bezeichnet wird, machte sich die Strömung der Romantik in Deutschland breit und hielt ihren Einzug in der Akademie. Unter dem Einfluss des Vormärz erweiterte sich das Programm der Akademie und ihres künstlerischen Umfeldes aber schon bald in der Breite weiterer Strömungen, so dass auch einer realistischen, gesellschaftskritischen Kunstauffassung sowie der Landschafts- und Genremalerei mehr Raum und Geltung zukamen. Unter den Bildthemen und Stilen der Malerschule sind "Historienmalerei, Landschaft, Genre und Stillleben in allen Facetten vertreten", die in der "bürgerlich bestimmten Kunst des 19. Jahrhunderts eine Rolle gespielt haben".
Durch Rezensionen, Veröffentlichungen und Ausstellungen, durch die Verbreitung der Werke über den internationalen Kunstmarkt, insbesondere nach London, Amsterdam, Brüssel, Paris, Chicago und New York, durch Reisen, weitverzweigte freundschaftliche und familiäre Verbindungen sowie durch die teilweise globalen schulischen und beruflichen Karrieren ihrer Protagonisten strahlte das Schaffen der Düsseldorfer Malerschule weit aus, vor allem im Zeitraum zwischen 1830 und 1870, durchaus aber auch in späteren Jahrzehnten des 19. Jahrhunderts. Weltweit gaben die in Düsseldorf geschulten Maler ihre künstlerischen Techniken, Haltungen, Lehrmethoden, Sujets, Topoi und Diskurse weiter, in anderen Kunstakademien und in den aufkommenden Künstlerkolonien. Insbesondere die Düsseldorfer Landschafts- und Genremalerei war viele Jahre führend und stilbildend. Die internationale Reputation der Düsseldorfer Malerschule unter künstlerischen Bildungsstätten Deutschlands wurde erst wieder durch das Bauhaus übertroffen.

Geschichte

Am 9. März 1819 wurde die Düsseldorfer Kunstakademie, die in der Zeit der Koalitionskriege und des Großherzogtums Berg einen deutlichen Niedergang erlebt hatte, durch König Friedrich Wilhelm III. als Königlich Preußische Akademie neu gegründet. Diese Maßnahme war nicht nur als ein bloßer Akt preußischer Kunstpflege und Bildungspolitik gedacht, sondern wurde als eine der primär identitäts- und innenpolitisch motivierten Maßnahmen zur Befriedigung des rheinischen Bürgertums gegenüber der preußischen Krone veranlasst. Die Rheinlande waren als Folge des Wiener Kongresses 1815 nach Preußen eingegliedert worden. Unter deren überwiegend katholischer und demokratisch gesinnter Bevölkerung, die im neuen, nunmehr auch im Westen Deutschlands verankerten Staat selbstbewusst auftrat, weil es zu dessen Steueraufkommen so stark wie keine andere Provinz beitrug, hatte sich das Gefühl breit gemacht, "Musspreußen" zu sein. Das ferne Berlin entschloss sich daher, diesem Problem durch ein Bündel kultur- und bildungspolitischer Maßnahmen zu begegnen, insbesondere im Bereich der Hochschulpolitik durch die Gründung von Hochschulen und Universitäten. So ebneten die Leiter der neugegründeten Akademie, Peter von Cornelius, Direktor zwischen 1819 und 1824, und vor allem sein Nachfolger, Wilhelm von Schadow, Direktor von 1826 bis 1859, den Weg zu einer national führenden und international beachteten Kunsthochschule, die auch auf junge Künstler aus dem Ausland eine große Anziehungskraft ausübte. Hierin gefördert wurde die Akademie durch den 1829 gegründeten Kunstverein für die Rheinlande und Westfalen, an dessen Gründung neben Schadow auch Karl Josef Ignatz Mosler, Akademiesekretär und Lehrer für Kunstgeschichte, maßgeblich beteiligt war.
Grundlage des "Siegeszugs der Düsseldorfer Malerschule" war nicht zuletzt der Kunstmarkt, der durch die rege Nachfrage des aufstrebenden rheinischen und westfälischen Bürgertums wesentlich getragen wurde. Spektakuläre Kunstkäufe des Hochadels, aber auch private Kunstgalerien wie die Ausstellungen von Julius Buddeus, Eduard Schulte, Bismeyer & Kraus, Paffrath, Boisserée und der American Art-Union, die Permanente Elberfeld-Barmer Kunstausstellung oder Johann Gottfried Bökers Düsseldorf Gallery, die ab den 1830er Jahren in Düsseldorf, Elberfeld, Köln, Berlin und New York gegründet wurden, sorgten für einen ständigen Absatz und trugen den Ruf der Düsseldorfer Malerschule in die Welt hinaus. In Düsseldorf selbst bildete sich ab ca. 1835 – besonders entlang der Alleestraße und der Ratinger Straße – das erste Galerienviertel des Rheinlands. Weitere Ausstellungsgebäude wie die 1878 bis 1881 errichtete Düsseldorfer Kunsthalle unterstützten eine öffentlichkeitswirksame Präsentation der Bilder. Verfahren der Vervielfältigung über Holz- und Kupferstich sowie Lithografie schufen für die Maler weitere Absatzmöglichkeiten. Besondere Wirkungen gingen in diesem Zusammenhang von dem 1841 gegründeten Verein zur Verbreitung religiöser Bilder aus, der spätnazarenisch geprägte Andachtsbilder von Düsseldorfer Stechern, die von Joseph von Keller geschult worden waren, weltweit vertrieb. Im Zuge des aufstrebenden Kunsthandels und Medienbetriebs und der damit steigenden Nachfrage nach Kunstdrucken und Illustrationen spezialisierten sich auf die Reproduktionsgrafik eine Reihe Düsseldorfer Betriebe, etwa die Kupferdruckerei Schulgen-Bettendorf von August Wilhelm Schulgen, die Anstalt von Richard Brend'amour oder die Firma Arnz & Comp., später Elkan & Comp.

Ein bedeutender Förderer und früher Sammler der Düsseldorfer Maler war der Berliner Bankier Joachim Heinrich Wilhelm Wagener, aus dessen Schenkung 1861 der entscheidende Impuls zur Gründung der Berliner Nationalgalerie hervorging. 1844 hatte der private Sammler Pierre Louis Ravené mit einem bedeutenden Anteil an Bildern der Düsseldorfer Malerschule die erste öffentlich zugängliche Kunstsammlung Berlins eröffnet. Zur Jahrhundertwende baute der Galerist und Sammler Alfred Flechtheim seine Kollektion und seinen Kunsthandel zunächst mit Werken der Düsseldorfer Malerschule auf. Eine andere Galerie an der Düsseldorfer Königsallee, die die Düsseldorfer Malerschule bis in die 1930er Jahre führte und die Spitzen der Gesellschaft zu ihren Kunden zählte, war die 1913 gegründete Kunsthandlung von Julius und Max Stern. Zeitgenössische Veröffentlichungen von Moritz Blanckarts, Ludwig Bund, Carl Gustav Carus, Anton Fahne, Ernst Förster, Wilhelm Füssli, August Hagen, Georg Wilhelm Friedrich Hegel, Heinrich Heine, Mary Botham Howitt, Wilhelm von Humboldt, Carl Leberecht Immermann, Adolph Kohut, Wolfgang Müller von Königswinter, Adolf Kröner, Franz Kugler, Romeo Maurenbrecher, Hermann Püttmann, Atanazy Raczyński, Adolf Rosenberg, Karl Schnaase, Johann Josef Scotti, Carl Seidel, Karl Leopold Strauven, Ernst Heinrich Toelken, Friedrich von Uechtritz, Friedrich Theodor Vischer, Johann Ferdinand Wilhelmi und Karl Woermann, später auch Richard Muther, Paul Clemen, Walter Cohen und Friedrich Schaarschmidt, machten die Malerschule dem deutschsprachigen Bildungsbürgertum bekannt. Der erste Kritiker, der die Düsseldorfer Maler, ihr Milieu und ihre Kunst als Malerschule auffasste, war 1828 der Jurist Romeo Maurenbrecher. Bei der weltweit beachteten Kunstausstellung Salon de Paris des Jahres 1864 bemerkte der französische Kritiker Amédée Cantaloube: "An allen Ecken und Enden werden Sie Werke der Düsseldorfer Malerschule finden."

Das von Schadow entwickelte, vielerorts nachgeahmte Lehrkonzept der Akademie, das den Lehrbetrieb als eine sozial eng vernetzte, hierarchisch gegliederte Künstlergemeinschaft aus Direktor, Lehrern und Hilfslehrern, Meisterschülern und einfachen Schülern auffasste, wies der Historienmalerei den höchsten Rang unter den Fächern zu. Es folgten die Bildnis- (d. h. die Akt- und Porträt-), die Genre- und schließlich die Landschaftsmalerei. Die Genremalerei der Düsseldorfer Schule erfuhr Ende der 1820er Jahre durch den Berliner Eduard Pistorius, der sich an die holländische Malerei des 17. Jahrhunderts anlehnte, entscheidende Anregungen. Erst spät wurde durch Johann Wilhelm Preyer die Stilllebenmalerei als eigenständiges Fach begründet. Zusätzlich wurden Anatomie, Architektur und Kupferstich gelehrt. 1854 wurde eine Professur für Bildhauerei eingerichtet. 1868 kam ein Lehrstuhl für Kunstwissenschaften hinzu. Erst 1874 wurde für die Genremalerei eine Meisterklasse eröffnet und Wilhelm Sohn zum ersten Professor für Genremalerei an der Düsseldorfer Akademie benannt. Ab 1903 bot ein nach Münchner Vorbild eingerichtetes Freiluftatelier der Tiermalerei optimierte Lehrbedingungen. Außerhalb des offiziellen Lehrbetriebs der Düsseldorfer Akademie gaben die Lehrkräfte Privatunterricht. Dieser ermöglichte es im 19. Jahrhundert unter anderem rund 200 Künstlerinnen, sich auf akademischem Niveau ausbilden zu lassen.

Bereits ab Mitte der 1830er Jahre traten Differenzen zwischen den Künstlern und Kunstrichtungen auf, die schließlich zum Rückzug Wilhelm von Schadows und zu einer gewissen Spaltung und Diversifizierung des Instituts führte. Die Gründe für die Differenzen waren unterschiedlicher Art. Zum einen ließ sich Schadows Gedanke einer von gleichen Idealen beseelten, homogenen Vereinigung von Künstlern kaum aufrechterhalten. Dieser im Pietismus wurzelnde Gedanke war besonders vom deutschrömischen Lukasbund, dem Cornelius und Schadow angehört hatten, hochgehalten worden. Zum anderen fühlten sich die neupreußischen Schüler aus der Rheinprovinz und aus Westfalen gegenüber den altpreußischen "Ostländern" benachteiligt, etwa bei der Besetzung akademischer Ämter, bei Stipendien und bei dem Ankauf von Bildern. Einige von ihnen verließen daraufhin Düsseldorf. Und schließlich führten die vielschichtigen Veränderungen in der Zeit des Vormärz, die sich im sozialen und kulturellen Leben Preußens und seiner Nachbarländer niederschlugen, zu einer von Schadow ungern gesehenen Schwerpunktverlagerung von der nazarenischen Kunst hin zur biedermeierlichen und spätromantischen Landschafts- und Genremalerei.

Einen thematischen Schwerpunkt bildete die Historienmalerei, als deren Düsseldorfer Exponenten neben den Direktoren Cornelius und Schadow etwa die Maler Alfred Rethel, Hermann Stilke, Heinrich Mücke, Carl Friedrich Lessing, Emanuel Leutze, Johann Peter Theodor Janssen, Wilhelm Camphausen, Heinrich von Rustige und Hermann Wislicenus hervortraten. Die jungen Künstler der Landschaftsklasse unter Johann Wilhelm Schirmer orientierten sich an niederländischen Künstlern wie Jacob Isaacksz. van Ruisdael oder Allart van Everdingen, im Gegensatz zu dem auf italienische Vorbilder ausgerichteten Kreis um Schadow. Gemeinsam mit dem Romantiker Carl Friedrich Lessing lehrte Schirmer die Landschaftsmalerei in und "vor der Natur", die Pleinairmalerei. Häufig gewählte Sujets waren die Landschaften, Geschichten und Mythen des Nieder- und Mittelrheins, die in romantischen Stimmungen dargestellt wurden. Zum Teil sind diese Werke, etwa die Aquarelle Caspar Scheurens von der Burg Stolzenfels, dem Bereich der Rheinromantik zuzuordnen. Als Eifelmaler erschlossen sie ab dem Ende der 1820er Jahre künstlerisch den gebirgigen Landschaftsraum zwischen Rhein, Mosel, Ardennen und Niederrhein. Ausgeprägt war außerdem die Italiensehnsucht der Düsseldorfer Maler, etwa bei Albert Flamm oder Eduard Kaempffer. Es entstanden ferner Bilder, die von einem früh aufkommenden Realismus zeugen, weil alltägliche Bildthemen ausgesucht und sachlich-natürlich dargestellt wurden. Die Künstler der Genreklasse beschäftigten sich unter anderem mit Themen sozialer Problematik, bezogen politisch Stellung zu den gesellschaftlichen Veränderungen und der wirtschaftlichen Rezession der 1840er Jahre, auch mit den Mitteln der Ironie und der Parodie, wie es besonders einige Werke von Adolph Schroedter und Johann Peter Hasenclever zeigen. Auch im Genrefach fanden sie Vorbilder bei Alten Meistern der niederländischen Malerei des Goldenen Zeitalters, jedoch außerdem bei dem schottischen Zeitgenossen David Wilkie. Dessen einfachen, humoristischen und psychologisierenden Erzählstil, wie er beispielhaft in der Testamentseröffnung (1820) zum Ausdruck kommt, ahmten sie nach. Narrativ, detailreich und humorvoll dargestellte Szenen aus dem Alltagsleben wurden so zum Markenzeichen der Düsseldorfer Genremalerei.

Frühe impressionistische Malweisen, die den Malern die Möglichkeit gaben, unterschiedlichste Stimmungen hervorzurufen und dramatische Lichteffekte einzufangen, lösten zunehmend die Feinmalerei Schadowscher Lehre ab. Die Gegensätze innerhalb der Düsseldorfer Malerschule verstärkten sich so. Neben dem Kreis von Schadow, der von ihm und seinen Meisterschülern gebildet wurde, gruppierten sich – auch aus Gründen der Raumnot der Akademie – weitere Kreise, zum Teil als private, freie Ateliergemeinschaften. Die neuen Gemeinschaften, die sich zusehends voneinander lösten, gaben sich scherzhafte Namen: "Neu-Bethlehem" oder "Jerusalem" für die Historienmaler, "Alhambra" für die Landschaftsmaler und "Sibirien" für die Genremaler. Zwar versuchte der im Revolutionsjahr 1848 gegründete Künstlerverein "Malkasten", den Zusammenhalt der Künstlerschaft wieder zu festigen, doch die Spannungen in der Akademie waren schließlich so groß, dass Schadow 1859 resigniert aufgab.

Die 1840er bis 1860er Jahre der Düsseldorfer Malerschule waren durch einen bemerkenswerten Zulauf von ausländischen Schülern gekennzeichnet, und der Bekanntheitsgrad der Schule machte die Düsseldorfer Kunstwerke der einheimischen und der zugewanderten Künstler zu einem beliebten Exportartikel. Intensive Verflechtungen bestanden zu Künstlern aus den Vereinigten Staaten, insbesondere zu Malern der Hudson River School, sowie mit den Milieus romantischer Maler aus Skandinavien, den baltischen Ländern und Russland.

Früh hatten die Küste, die Kultur und die Bevölkerung Hollands auf deutsche Maler der Düsseldorfer Schule eine große Anziehungskraft ausgeübt. Neben Museumsbesuchen wurden die ruhige holländische Landschaft und die Nordseeküste einer recht erschwinglichen Studienreise unterzogen. Die Industrialisierung war dort noch nicht so weit fortgeschritten, viel Ursprüngliches und eine romantische Landschaft waren zu entdecken, denn Holland war seit dem 17. Jahrhundert ein nahezu unberührter Landstrich, mit pittoresken Windmühlen und einer malerischen Dünenküste, etwa die von Scheveningen, wo sich das Fischerleben immer noch auf dem Strand abgespielte. Bereits im Jahre 1844 zeigte Rudolf Jordan Motive aus Holland. Zwischen niederländischen Künstlern und Düsseldorfer Malern kam es bald zu fachlichen und freundschaftlichen Kontakten, etwa während gemeinsamer Zeiten, die an den begehrten Motiven von Egmond aan Zee, Katwijk und Scheveningen verbracht wurden.

Der Ruf der Düsseldorfer Schule zog in umgekehrter Richtung viele niederländische Maler an. Der Rhein und die Rheinromantik mit ihrer Motivvielfalt trugen wesentlich dazu bei. Studienreisen dorthin unternahmen niederländische Maler wie Wijnand Nuijen, Antonie Waldorp und Charles Rochussen. Auch Maler der Haager Schule, ihrer Vorläufer und Parallelströmungen zog die Rheinstadt an, so bereits 1835 Johannes Bosboom. Jozef Israëls verwendete sein erstes durch Bilderverkauf Verdientes dazu, um dort zu lernen. Im Jahre 1865, also zur Hochzeit der Schule von Barbizon, kamen auch die beiden Maler Philip Sadée und Julius van de Sande Bakhuyzen nach Düsseldorf, weil der internationale Ruf der Akademie als Lehrstätte für Historien- und Landschaftsmalerei sie angezogen hatte. Die Gebrüder Jacob Maris und Matthijs Maris reisten den Rhein entlang mit Zwischenstationen in Köln und Mannheim bis in die Schweiz. Der rauen und zugleich romantischen Atmosphäre des Rheins konnten auch Willem Maris und Bernard Blommers nicht widerstehen. Denn für Studien und die spätromantische Malerei war die damals kaum zersiedelte und technisch nur wenig überformte Rheinlandschaft geradezu ideal. Man konnte entlang des touristisch bereits erschlossenen Stromes und in seinen Seitentälern von Gasthof zu Gasthof wandern. Größere Entfernungen waren bequem auf Schiffen zurückzulegen. Im Jahre 1839 wurde der Rhein von Johannes-Warnardus Bilders bereist. Einer der letzten niederländischen Maler in Düsseldorf war Ludolph Berkemeier, der nach seinem dortigen Studium nach Weimar ging, um an der Großherzoglich-Sächsische Kunstschule Weimar seine Ausbildung unter dem Landschaftsmaler Theodor Joseph Hagen fortzusetzen. Hagen selbst hatte ebenfalls in Düsseldorf studiert.

Eng verflochten waren die Maler der Düsseldorfer Schule mit dem kulturellen und politischen Leben Düsseldorfs und der Rheinlande. Sie bereicherten das Bühnenbild des Theaters, sie sangen in den Chören, sie gestalteten Feste und Aufführungen. Sie beteiligten sich rege am Düsseldorfer Karneval und richteten in diesem Rahmen als jährlichen Maskenball die Malkasten-Redoute aus. Berühmt für ihre eindrucksvollen Künstlerfeste, die sie im Malkasten-Haus, im Malkastenpark, an der Fahnenburg und anderen Orten als spartenübergreifende künstlerische Vergnügungsveranstaltungen verwirklicht hatten, erhielten sie den Auftrag, den Historischer Festzug von 1880, mit dem die Vollendung des Kölner Doms gefeiert wurde, zu gestalten. Bekanntheit erlangten die Tableaux vivants, "lebende Bilder", die Düsseldorfer Maler in ihrer besonderen Affinität zu literarischen und theatralischen Stoffen inszenierten. Robert Reinick ließ Eindrücke seiner Düsseldorfer Zeit in die romantischen Dichtungen seiner Lieder eines Malers mit Randzeichnungen seiner Freunde einfließen. Eduard Bendemann beteiligte sich an der Publikation, Robert Schumann vertonte sie später. Einen engen künstlerischen und freundschaftlichen Austausch gab es zwischen Eduard Bendemann, Julius Hübner und dem Komponisten Felix Mendelssohn Bartholdy. Die Maler hatten zwischen 1829 und 1831 mit der "Casa Bendemann-Hübner" an Roms Piazza del Popolo ein offenes, gastfreundliches Haus deutscher Italienreisender unterhalten, den Komponisten dort kennengelernt und 1833 anlässlich des Besuchs des preußischen Kronprinzen Friedrich Wilhelm in Düsseldorf gemeinsam mit Mendelssohn im Galeriesaal der Akademie Teile von Händels Oratorium Israel in Ägypten aufgeführt.

Während der Deutschen Revolution 1848/49 engagierten sich viele Düsseldorfer Maler für die Anliegen einer demokratischen Verfassung und einer großdeutschen Einheit unter dem Dach einer konstitutionellen Monarchie. Als Sinnbild dessen entwarf der Maler Karl Ferdinand Sohn die Monumentalskulptur einer Germania aus Holz, Leinwand und Pappe für das Fest der deutschen Einheit, das am 6. August 1848 von Bürgern, Künstlern und dem neugegründeten Düsseldorfer Turnverein auf dem Düsseldorfer Friedrichsplatz ausgerichtet wurde. Etliche Maler, etwa Johann Peter Hasenclever, Philipp Hoyoll, Carl Wilhelm Hübner, Wilhelm Kleinenbroich, Gustav Adolf Koettgen, George Caleb Bingham, Carl d'Unker, Richard Caton Woodville und Christian Ludwig Bokelmann, interessierten sich für damals aktuelle gesellschaftspolitische und soziale Fragen, die sie in ironischer, psychologisierender, realistischer und später auch naturalistischer Weise darstellten. Einige unter ihnen hingen frühsozialistischen und nationalistischen Idealen an. Kritik an den politischen Verhältnissen pointierte die während der Revolution vom Publizisten und Historienmaler Lorenz Clasen herausgegebene Satirezeitschrift Düsseldorfer Monathefte, zu der viele Düsseldorfer Maler Zeichnungen lieferten. Aber auch nationalromantisch fundierte und politisch affirmative Malerei kam aus Düsseldorf, etwa die zwischen 1877 und 1897 von Hermann Wislicenus geschaffenen Wandbilder des Kaisersaals in Goslar.

1856 stellten Düsseldorfer Künstler rund ein Viertel der Teilnehmer eines Treffens, das zur Gründung der Allgemeinen Deutschen Kunstgenossenschaft, des ersten Berufsverbandes bildender Künstler in Deutschland, führte. Der Künstlerverein "Malkasten" hatte zu diesem Treffen nach Bingen am Rhein eingeladen. In späteren Jahren unterstützten Düsseldorfer Maler den Industriellen Heinrich Lueg dabei, internationale Industrie- und Gewerbeausstellungen auszustatten und zu organisieren. Einen Anfang bildete die 1880 ausgerichtete Gewerbe-Ausstellung für Rheinland, Westfalen und benachbarte Bezirke. Aus dieser Ausstellung ging der Central-Gewerbe-Verein für Rheinland, Westfalen und benachbarte Bezirke hervor, der – ebenfalls durch das vielfältige Engagement Düsseldorfer Maler – der westdeutschen Kunstgewerbebewegung bedeutende Impulse verlieh und zur Errichtung eines Kunstgewerbemuseums Düsseldorf führte. Zur Industrie- und Gewerbeausstellung Düsseldorf des Jahres 1902 wurde nach einer Idee der Maler Fritz Roeber und Georg Oeder die sogenannte Golzheimer Insel für Ausstellungszwecke entwickelt und für die Ausstellung der Künstler der Kunstpalast erbaut, aus welchem später das Museum Kunstpalast am Ehrenhof hervorging. In ihren Beiträgen für das örtliche Kulturleben griffen die Düsseldorfer Maler häufig die Motive des Theaters, der Musik, der Literatur und des Brauchtums auf, um sie für ihre malerischen Aussagen zu nutzen. Düsseldorfer Originale wie Peter Muckel oder Malerkollegen standen ihnen Modell.

Im Laufe des 19. Jahrhunderts vollzog die Düsseldorfer Malerschule im Zuge einer zunehmenden Kommerzialisierung und eines steigenden Konkurrenzdrucks eine deutliche Wende zu marktgängigen Themen wie der anekdotisch-humorigen Genremalerei in gut verkäuflichen Wohnzimmerformaten. Dies trug ihr den Ruf des Qualitätsverfalls ein, für den der Kunstverein für die Rheinlande und Westfalen wegen seiner offensiven Vermarktungsstrategie verantwortlich gemacht wurde. Ein bemerkenswerter Vertreter dieser kommerziellen Ausrichtung war der ab 1858 in Düsseldorf ansässige Maler Otto Erdmann, der fast ausschließlich Genrebilder im Rokoko- bzw. Neorokoko-Stil schuf.

Den Höhepunkt ihrer Reputation erklomm die Düsseldorfer Schule in den 1830er bis 1850er Jahren des 19. Jahrhunderts. Geschwächt durch Disruptionen, die nach der Deutschen Revolution das kulturelle Klima veränderten, und bedingt durch einen pädagogischen Paradigmenwechsel hin zum Naturalismus, wie er als neuer Trend auf der Weltausstellung Paris 1855 bereits deutlich wurde, verlor die Düsseldorfer Schule ihre einzigartige Stellung.

Nach der Reichsgründung (1871) stieg die Bevölkerungszahl der Stadt Düsseldorf stark an. Die Hochkonjunktur bescherte der Stadt ein buntes und vielfältiges kulturelles Leben und die Akademie war nicht mehr der alleinige Mittelpunkt der Künstlerschaft. Viele Maler zogen von auswärts an den Rhein, um die Großstadt Düsseldorf als Zentrum des Kunstschaffens und des Kunstmarkts zu nutzen. Die Düsseldorfer Malerschule als künstlerisch homogene Einheit gab es längst nicht mehr.

Im Jahre 1872 übernahm der Deutsch-Balte Eugène Dücker von Oswald Achenbach die Düsseldorfer Professur für Landschaftsmalerei. Durch ihn und seine Schüler erfolgte ein Aufbruch in die neue Ära, die die Kunsthistoriker auch als die Dücker-Linie bezeichnen. Von den Motiven her wurde zusehends das Alltagsleben aufgegriffen. Wenn anfangs auch zaghaft, so folgte man dem Naturalismus sowie dem Vor-Impressionismus bzw. der Haager Schule in ihrer typischen Farbpalette. Eugène Dücker und seine Schüler, die sich von der traditionellen Auffassung der Landschaft in den 1870er Jahren abgewandt hatten, bahnten den Weg einer Neuorientierung und wirkten so noch weit in das 20. Jahrhundert.

Ein wichtiger Einfluss kam seinerzeit von Max Liebermann, den eine über dreißigjährige Freundschaft mit Jozef Israëls verband, einem der vielen Väter der Haager Schule. Liebermann griff zunächst den Naturalismus auf mit der für die Haager Schule typischen Palette. Dann trat die Wendung zum Vor-Impressionismus ein.

Von Brüssel gingen Ende des 19. Jahrhunderts weitere Impulse auf Deutschland aus. Im Jahre 1884 hatte sich die Société des Vingt zusammengefunden. Ihr erklärtes Ziel war das Abschütteln des Akademismus, die Überwindung von traditionellen Maltechniken und Motiven. Die Erneuerer wollten das, was sie malten, selbst bestimmen. Dieser revolutionäre Funke griff auch auf Düsseldorf über. 1909 gründeten einige Maler der Landschaftsklasse, Julius Bretz, Max Clarenbach, August Deusser und Walter Ophey, unter dem Vorsitz des Mäzens Karl Ernst Osthaus den "Sonderbund", der versuchte, den Kontakt mit dem französischen Impressionismus zu vertiefen. In zwei Ausstellungen, 1909 und 1912, wurden französische Impressionisten und Postimpressionisten zum ersten Mal in Deutschland der breiten Öffentlichkeit vorgestellt, darunter Vincent van Gogh, Paul Gauguin und Pablo Picasso. Der Erste Weltkrieg beendete dann fürs Erste nicht nur die Kontakte mit französischen Künstlern, sondern er bedeutete auch das Ende der Düsseldorfer Malerschule. In ihrer Endzeit galt das Schaffen der Düsseldorfer Malerschule weitgehend als Anwendung des Herkömmlichen.

Kunstwerke (Auswahl)

Künstler

Zwischen 1819 und 1918 gehörten zur Düsseldorfer Malerschule etwa 4000 Künstler. Als herausragende Künstler dieser Schule gelten, aufgelistet nach Genres:

Historienmalerei, religiöse, mythologische und allegorische Malerei
 Eduard Bendemann (1811–1889)
 Arnold Böcklin (1827–1901)
 Peter von Cornelius (1783–1867)
 Anselm Feuerbach (1829–1880)
 Eduard von Gebhardt (1838–1925)
 Theodor Hildebrandt (1804–1874)
 Carl Wilhelm Hübner (1814–1879)
 Peter Janssen d. Ä. (1844–1908)
 Emanuel Leutze (1816–1868)
 Alfred Rethel (1816–1859)
 Wilhelm von Schadow (1788–1862)
 Friedrich Stummel (1850–1919)
 Hermann Wislicenus (1825–1899)

Porträtmalerei
 Karl Ferdinand Sohn (1805–1867)
 Karl Rudolf Sohn (1845–1908)

Genremalerei
 George Caleb Bingham (1811–1879)
 Christian Ludwig Bokelmann (1844–1894)
 Christian Eduard Boettcher (1818–1889)
 Johann Peter Hasenclever (1810–1853)
 Rudolf Jordan (1810–1887)
 Ludwig Knaus (1829–1910)
 Adolph Schroedter (1805–1875)
 Adolph Tidemand (1814–1876)
 Benjamin Vautier (1829–1898)

Stilllebenmalerei
 Jakob Lehnen (1803–1847)
 Emilie Preyer (1849–1930)
 Johann Wilhelm Preyer (1803–1889)

Landschaftsmalerei
 Andreas Achenbach (1815–1910)
 Oswald Achenbach (1827–1905)
 Albert Bierstadt (1830–1902)
 Max Clarenbach (1880–1952)
 Eugen Dücker (1841–1916)
 Hans Fredrik Gude (1825–1903)
 Carl Friedrich Lessing (1808–1880)
 Johann Wilhelm Schirmer (1807–1863)

Architektur- und Vedutenmalerei
 Theodor Groll (1857–1913)
 Adolf Seel (1829–1907)
 Franz Stegmann (1831–1892)
 Rudolf Wiegmann (1804–1865)

Militär- und Schlachtenmalerei
 August Beck (1823–1872)
 Georg Bleibtreu (1828–1892)
 Wilhelm Camphausen (1818–1885)
 Emil Hünten (1827–1902)
 Theodor Rocholl (1854–1933)
 Christian Sell (1831–1883)

Tier- und Jagdmaler
 Carl Friedrich Deiker (1836–1892)
 Johannes Deiker (1822–1895)
 Christian Kröner (1838–1911)
 Emil Volkers (1831–1905)

Sammlungen
Historische und Kunstmuseen sowie Privatsammlungen, die über bedeutende Werke der Düsseldorfer Malerschule verfügen, sind:
 Dr. Axe-Stiftung, Bonn, Kronenburg/Eifel
 Deutsches Historisches Museum, Berlin
 Museum Kunstpalast, Düsseldorf
 Städel Museum, Frankfurt am Main
 Stadtmuseum Landeshauptstadt Düsseldorf
 Stiftung Preußischer Kulturbesitz, Staatliche Museen zu Berlin (insbesondere Alte Nationalgalerie)
 Stiftung Sammlung Volmer, Wuppertal
 Wallraf-Richartz-Museum & Fondation Corboud, Köln

Ausstellungen
 1976: The Hudson and the Rhine. Die amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, Kunstmuseum Düsseldorf
 1976: The Hudson and the Rhine. Die amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert, Kunsthalle Bielefeld
 1979: Die Düsseldorfer Malerschule, Kunstmuseum Düsseldorf
 1979: Die Düsseldorfer Malerschule, Mathildenhöhe, Darmstadt
 2011: Weltklasse. Die Düsseldorfer Malerschule und ihre internationale Ausstrahlung 1819–1918, Museum Kunstpalast, Düsseldorf
 2011: Düsseldorfer Malerschule, Galerie Paffrath, Düsseldorf
 2014: Die Düsseldorfer Malerschule am Rhein, Siebengebirgsmuseum, Königswinter
 2015: Die Düsseldorfer Malerschule und das Baltikum, Eesti Kunstimuuseum, Tallinn, Estland
 2015: Naumburg und die Düsseldorfer Malerschule, Schwurgericht Naumburg, Naumburg (Saale)
 2015: Carl Gehrts und die Düsseldorfer Malerschule, Dr. Axe-Stiftung, Kronenburg in Dahlem (Nordeifel)
 2015/2016: Tiefernst und stumm ist hier die Welt... Die Preußische Rheinprovinz im Blick der Düsseldorfer Malerschule, Museum Zitadelle, Jülich
 2016/2017: Die Eifel im Bild – Düsseldorfer Malerschule. Kunstkabinett der Dr.-Axe-Stiftung, Dahlem-Kronenburg

Literatur
 Catalogue of Paintings by Artists of the Düsseldorf Academy of Fine Arts, Baker & Godwin, New York City 1855 (books.google.de); darin: Historical Sketch of the Dusseldorf School of Art, S. 3–6
 The Dusseldorf School of Painting. In: Eliakim Littell, Robert S. Litell (Hrsg.): Littell's Living Age. Volume C, Fourth Series, Volume XII (January, February, March 1869), Littell and Gay, Boston 1869, S. 299 (books.google.de)
 Bettina Baumgärtel (Hrsg.): Die Düsseldorfer Malerschule 1819–1918. Ausstellungskatalog, 2 Bände, Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9.
 Martina Gödecke-Behnke: Das bürgerlicher Frauenporträt der Düsseldorfer Malerschule im Zeitraum von 1820 bis 1848. Eine kunstgeschichtliche und kulturhistorische Betrachtung anhand von zehn Beispielen, Dissertation 1982 an der Fakultät der Abteilung Philosophie an der Ruhr-Universität Bochum, Verlag Dr. Bernd Kretschmer, St. Augustin 1983, ISBN 3-88873-004-X (= Wissenschaftliche Reihe, Band  7)
 Christa Holtei: Die Düsseldorfer Malerschule. Kunst – Geschichte – Leben. Droste Verlag, Düsseldorf 2017, ISBN 978-3-7700-1598-6.
 Wolfgang Hütt: Die Düsseldorfer Malerschule 1819–1869. E. A. Seemann, Leipzig 1984, 1995, ISBN 3-363-00634-9.
 Wend von Kalnein (Hrsg.): Die Düsseldorfer Malerschule. Ausstellungskatalog. Redaktion: Dieter Graf, Kunstmuseum Düsseldorf 1979, ISBN 3-8053-0409-9.
 Wend von Kalnein: The Hudson and the Rhine. Die amerikanische Malerkolonie in Düsseldorf im 19. Jahrhundert. Kunstmuseum Düsseldorf, 1976
 Ralf Kern: Oswald Achenbach: Ein Düsseldorfer malt Italien. LIT Verlag, Münster 2009, ISBN 978-3-643-10081-8.
 Kunstmuseum Düsseldorf, Galerie Paffrath (Hrsg.): Lexikon der Düsseldorfer Malerschule 1819–1918, 3 Bde., Bruckmann, München 1997–1998, ISBN 3-7654-3009-9, ISBN 3-7654-3010-2, ISBN 3-7654-3011-0, ISBN 3-7654-3011-0.
 Ekkehard Mai: Die Düsseldorfer Kunstakademie im 19. Jahrhundert – Cornelius, Schadow und die Folgen. In: Gerhard Kurz (Hrsg.): Düsseldorf in der deutschen Geistesgeschichte (1750–1850), Schwann, Düsseldorf 1984, ISBN 3-590-30244-5.
 Sabine Morgen: Die Ausstrahlung der Düsseldorfer Schule nach Amerika im 19. Jahrhundert. Düsseldorfer Bilder in Amerika und amerikanische Maler in Düsseldorf mit Künstlerlexikon auf CD-ROM, Edition Ruprecht, Göttingen 2008, ISBN 978-3-7675-3059-1 (= Göttinger Beiträge zur Kunstgeschichte, Band 2)
 Hans Paffrath: Meisterwerke der Düsseldorfer Malerschule 1819–1918, Droste, Düsseldorf 1995
 Friedrich Schaarschmidt: Zur Geschichte der Düsseldorfer Kunst, insbesondere im XIX. Jahrhundert, herausgegeben vom Kunstverein für die Rheinlande und Westfalen. Verlag August Bagel, Düsseldorf 1902;  – rambow.de (PDF; 9,8 MB)
 Johann Josef Scotti: Die Düsseldorfer Maler-Schule, oder auch Kunst-Academie in den Jahren 1834, 1835 und 1836, und auch vorher und nachher. Schreiner, Düsseldorf 1837 (Digitalisierte Ausgabe der Universitäts- und Landesbibliothek Düsseldorf)
 Martina Sitt: Die "Düsseldorfer Compagnie" in Rom 1830–1860. Auf Goethes Spuren. In: Ursula Bongaerts (Hrsg.): Die "Düsseldorfer Compagnie" in Rom 1830–1860. Landschaftsmaler auf Goethes Spuren. Casa di Goethe, Rom 2000, S. 9–44.
 Karl Leopold Strauven: Ueber künstlerisches Leben und Wirken in Düsseldorf bis zur Düsseldorfer Maler-Schule unter Direktor Schadow. Hofbuchdruckerei H. Voß, Düsseldorf 1862
 Andreas Wartmann: Studien zur Bildnismalerei der Düsseldorfer Malerschule (1826–1876), Lit Verlag, Münster 1996, ISBN 3-8258-2845-X (= Uni Press Hochschulschriften Band 80)
 Rudolf Wiegmann: Die Königliche Kunst-Akademie zu Düsseldorf. Ihre Geschichte, Einrichtung und Wirksamkeit und die Düsseldorfer Künstler, Düsseldorf 1856.
 Christian Scholl, Anne-Katrin Sors (Hrsg.): Vor den Gemälden: Eduard Bendemann zeichnet. Bestandskatalog der Zeichnungen und Skizzenbücher eines Hauptvertreters der Düsseldorfer Malerschule in der Göttinger Universitätskunstsammlung, Göttingen 2012, Göttinger Universitätsverlag, ISBN 978-3-86395-083-5 online (PDF; 15 MB)

Siehe auch
 Liste von Malern der Düsseldorfer Malerschule

Weblinks

 Künstler und Künstlerinnen der Düsseldorfer Malerschule (Auswahl, Stand: November 2016) (PDF; 2,5 MB) PDF auf kunstpalast.de (Museum Kunstpalast)
 Die Düsseldorfer Malerschule im 19. Jahrhundert, Webseite im Portal rheinische-geschichte.lvr.de (Landschaftsverband Rheinland)
 Webseiten zur Einführung in das Ausstellungsthema Die Düsseldorfer Malerschule durch das Museum Kunstpalast, Düsseldorf 2011
 Stiftung Sammlung Volmer – Sammlung von Werken der Düsseldorfer Malerschule, siehe auch Stiftung Sammlung Volmer
 Ausstellung "Angesichts des Alltäglichen"
 Düsseldorfer Malerschule (DFG), Digitale Sammlung der Heinrich-Heine-Universität Düsseldorf, Universitäts- und Landesbibliothek Düsseldorf, gefördert durch die Deutsche Forschungsgemeinschaft
 Sammlung Rheinromantik – Düsseldorfer Künstler und die Rheinromantik
 "Weltklasse – Die Düsseldorfer Malerschule 1819–1918", Online-Ankündigung der Ausstellung des Museums Kunstpalast, 24. September 2011 bis 22. Januar 2012 in Düsseldorf
 "Düsseldorfer Schule", WDR-Beitrag vom 22. September 2011 über die Vorbereitungen der Ausstellung "Weltklasse – Düsseldorfer Malerschule 1819–1918" mit einem Interview mit der Ausstellungskuratorin Bettina Baumgärtel, Video 02.37 min

 oblivion-art.de

Einzelnachweise

Künstlergruppe (Malerei)
Malerschule
Kunststil
Malerei (Deutschland)
Kunst der Neuzeit
Düsseldorf im 19. Jahrhundert
Düsseldorf im 20. Jahrhundert

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Mesoleius brevipalpis is een insect dat behoort tot de orde vliesvleugeligen (Hymenoptera) en de familie van de gewone sluipwespen (Ichneumonidae). De wetenschappelijke naam van de soort werd voor het eerst geldig gepubliceerd door Thomson in 1894.

brevipalpis


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