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Uncover the core principles of color in painting, and learn how art achieves power and meaning through color.
Learn how symbolic associations work in art - and how they've changed over time.
Discover why the Impressionists were so fascinated with natural light, and how this fascination appears in their work.
Contemplate the "anti-art" movement, and consider the focus on the subconscious found in the work of the Surrealists.
Great art is among the most sublime, meaningful, and redeeming creations of all civilization. Few endeavors can equal the power of great artwork to capture aesthetic beauty, to move and inspire, to change your perceptions, and to communicate the nature of human experience. Great art is also complex, mysterious, and challenging. Filled with symbolism, cultural and historical references, and often visionary imagery, great artworks oblige us—defy us, even—to reckon with their many meanings.
What does it take to truly know what you're seeing when you look at art? What technical skills and knowledge are needed to comprehend the full richness of artworks, to unpack the hidden significance of master paintings, sculptures, prints, and more?
Award-winning Professor Sharon Latchaw Hirsh of Rosemont College speaks to these and other compelling questions in How to Look at and Understand Great Art. Unlike a traditional survey of art, these 36 richly illustrated lectures take you on an in-depth exploration of the practical skill of viewing art through the lenses of line, light, perspective, composition, and other crucial elements of craft and technique. Using timeless masterpieces of Western painting, sculpture, and graphic art, as well as hands-on studio demonstrations, Professor Hirsh gives you the specific visual and interpretive knowledge you need to approach great artworks, find their deeper meanings, and reach startling new levels of appreciation.
Discovering the Artist's Visual Language
In building your viewing skills, the opening lectures give you practice with the core technical tools for understanding visual art:
Color: You study the essential principles of color and color schemes in painting and graphic art and the distinctive use of color in different epochs, all of which are deeply integral to an artist's work.
Line: You investigate the artist's use of line (the basis of art) as it describes reality, conveys expressive meaning, and gives larger structural impact to an artwork.
Composition: You learn how the artist constructs a work's overall composition in painting, graphic art, and sculpture. You discover compositional features such as symmetry/asymmetry, balance, and the visual framing of images, as keys to an artwork's comprehensive impact.
Signs and symbols: You learn how to recognize symbolism and signifiers in religious paintings, "vanitas" still lifes, canvases of royalty, and seminal works by Gauguin and Dali.
Rich and Varied Genres of Art
Traveling deeply into the artist's world, you investigate the major genres of drawing, printmaking, sculpture, and painting. You apply your technical knowledge to major works in each genre, exploring the various purposes and types of drawings, the vast spectrum of sculpture and three-dimensional art, and the important traditions within painting and printmaking, with particular attention to how works of art are made.
Here, Professor Hirsh takes you out of the classroom and into the studio, in a series of hands-on demonstrations you rarely find in an academic art course. In the lectures on painting, for example, you study the techniques of fresco and panel painting, and you see oil painting demonstrated, including the mixing of colors, the application of opaque oils and translucent glazes, and the texturing techniques of impasto and scumbling used so memorably by Rembrandt, Van Gogh, and the Expressionists.
In the complex genre of printmaking, you watch a contemporary artist create original prints, showing you the methods of woodcut, copper plate engraving, etching, lithograph, and silkscreen prints. Your understanding of the techniques of printmaking helps you identify the type of print you're looking at—often tricky even for experienced eyes—and gives you an appreciation of the craft underlying master prints by Dürer, Doré, Whistler, Degas, and others.
To deepen your insight into subject matter in art, additional lectures are devoted to the importance of landscapes, portraits, and self-portraits.
Great Eras, Visionary Movements
In the course's final section, you use your newfound skills to explore the major eras and movements in Western art, from the Renaissance to the present. In this unfolding progression, you encounter the stunning diversity of artworks from the early Renaissance to the Baroque and Rococo, from 19th-century Romanticism to Impressionism, from 20th-century Expressionism to Cubism, Surrealism, and Modernism, and finally to Postmodernism and the art of our own times.
The knowledge you've developed allows you to recognize and appreciate the dramatic evolution of art, not merely in historical terms, but through specific understanding of how artists work.
In the Limbourg brothers' Hours of the Duc de Berry (15th century), for example, you see their attempt at linear and aerial perspective; later, you see how these techniques were gloriously perfected by Masaccio, Leonardo, and other Renaissance masters. You observe how the impact of El Greco's Mannerist masterpiece Pentecost rests on an anti-Renaissance elongation of figures, unusual poses, and use of tertiary colors.
Of huge value for appreciating modern and contemporary works, you delve into the human experiences and ways of thinking that gave birth to abstract and nonrepresentational art. Here, you study influences such as the three phases of Cubism, the ideas of Kandinsky, and the penetrating imagery of Franz Marc, following the bold and thoughtful moves that freed art from imitating nature. This understanding allows you to grasp the inspiration and visions of De Kooning, Miró, Giacometti, Pollock, and other masters of the modern era.
A Visually Rich Learning Experience
Drawing on works from public and private collections, this course brings masterpieces from more than 250 of the world's greatest artists together in one place—making this thrilling course a virtual museum of art you won't be able to find anywhere else. Professor Hirsh's lectures come complete with
more than 950 works of art, presented in crisp high-definition that allows you to zoom in and explore their tiniest details;
meticulously crafted 3-D animations that reconstruct particular works;
on-set demonstrations that explain specific painting methods and techniques; and
visits to an actual artist's studio where you get a first-hand look at the secrets of printmaking.
Winner of the Charles A. Dana Award for Distinguished Teaching, Professor Hirsh combines a remarkable breadth of knowledge and a gift for demystifying both the imagery and the motives of art, leaving you with lasting insight into classic masterpieces as well as challenging contemporary works.
By teaching you the artist's visual language and how to "read" it, How to Look at and Understand Great Art gives you an extraordinary key to the full, unforgettable richness of great artworks—their ability to open you up to new ways of seeing, to bring alive the majestic unfolding of history, and to reveal human experience in all its vividness, poignancy, and dynamic life.
The Importance of First Impressions
Examine the contexts and environments in which we encounter art and their critical effect on our viewing experience. Consider ways of displaying and framing paintings, as well as key parameters for viewing sculpture. Then, learn the predominant genres of Western art, and the artist's media, tools, and techniques. x
Where Am I? Point of View and Focal Point
Explore how point of view—the artist's positioning of the viewer with respect to the image—works in painting and sculpture, paying particular attention to differences in angle and spatial relation. Then, continue with focal point, or the artist's centering of attention on a key area of the work. x
Color—Description, Symbol, and More
Uncover the core principles of color in painting, including the distinctions of value and saturation and the relationship of colors as analogous or complementary. See how major works of art achieve their power and meaning through color, as seen in celebrated canvases by Seurat, Gauguin, and Van Gogh. x
Line—Description and Expression
Discover the properties of line, another essential element of art, as "descriptive" (describing reality) or "expressional" (conveying feeling). Learn about the use of geometric lines, implied lines, and directional lines within a composition. Also, study the compelling, psychological use of line in Picasso's works, Seurat's The Circus, and in key Modern and Expressionist works. x
Space, Shape, Shade, and Shadow
Examine geometric and "organic" shapes in painting and sculpture and the crucial relationship of figure to ground and mass to space. Then, explore the illusionistic use of shading, shadows, and overlapping shapes in Caravaggio's and Friedrich's works, and the compositional power of shapes in paintings such as Matisse's Dance and Michelangelo's Creation of Adam. x
Seeing the Big Picture—Composition
Define symmetry and asymmetry in painting and sculpture, and the key effects on the viewer of each. Also, study scale and proportion of figures, and the distinction between "open" and "closed" composition, reflecting the artist's approach to visually framing the image. x
The Illusion—Getting the Right Perspective
Tracking the history of illusionism in Western art, grasp the principles of linear perspective, foreshortening, and atmospheric perspective as they replicate how the human eye perceives. See how artists, including Cézanne and Van Gogh, manipulated perspective for their own creative ends, and observe the extreme illusionism of trompe l'oeil and anamorphosis. x
Art That Moves Us—Time and Motion
Explore how artists evoke motion and the passage of time, including implying motion through strong directional lines and time through narrative devices. Study approaches to implied motion in Impressionism, Abstract Expressionism, and Op art, and the use of actual motion in performance art and modern sculpture. x
Feeling with Our Eyes—Texture and Light
Here, consider texture in sculpture as an aid to meaning in sculptures by Rodin, Donatello, and Bernini, and the painter's use of paint as a way to capture texture and light on canvas. Then observe the virtuoso representation of texture by master painters Ingres and Titian, and the handling of light and shadow in works by Renoir and Georges de la Tour. x
Drawing—Dry, Liquid, and Modern Media
In this first lecture on genre, define the various purposes of drawings, from "croquis" drawing to capture a pose or action, to successive sketches visualizing larger works, to finished drawings as a distinct art. Study the diverse media of drawing, focusing on master drawings in metalpoint, charcoal, ink, pastel, and pencil. x
Printmaking—Relief and Intaglio
The medium of prints attracted great artists from Dürer and Rembrandt to Ensor and Picasso. Using studio demonstrations, study the expressive means and contrasting techniques of relief printmaking, including woodcut, wood engraving, and linocut, and intaglio printmaking, including metal engraving, etching, mezzotint, and aquatint. x
Modern Printmaking—Planographic
This lecture explores the art of planographic printmaking, which allows artists to draw or paint directly on the printing surface. In detailed demonstrations and works by Daumier, Degas, and Warhol, grasp the techniques of lithography, silkscreen, and monotype, and explore the mastery of Whistler's lithograph Nocturne: The Thames at Battersea. x
Sculpture—Salt Cellars to Monuments
Sculpture, as a genre, encompasses the full spectrum of three-dimensional artworks. In this lecture, investigate the varieties and viewing contexts of relief and in-the-round sculptures—from monumental public works and religious and historical subjects to assemblage, collage, found objects, and large-scale "earth art"—noting the technical distinction between subtractive and additive works. x
Development of Painting—Tempera and Oils
Trace the history and technique of painting, beginning with the methodology of panel painting on wood; fresco painting, both wet and dry; and finally, oil painting and watercolor. Learn about types of oil paint, the mixing of colors, brushwork techniques, and the 19th-century phenomenon of plein air (outdoor) painting. x
Modern Painting—Acrylics and Assemblages
The lecture opens with a historical panorama of painting techniques, highlighting the diverse treatment of human faces. Then, it tracks 20th-century developments in nontraditional materials and methods of application, including the techniques of Frank Stella, Helen Frankenthaler, and Jackson Pollock, as well as the contrasting strengths and mixed use of oil and acrylics. x
Subject Matters
Focusing on masterworks by Van Eyck and Rubens, define three levels of iconography (subject matter). Also study the academic codifying and ranking of subject matter in art, probing subject and deeper meaning in a variety of religious and history paintings, still lifes, landscapes, portraits, and genre works. x
Signs—Symbols, Icons, and Indexes in Art
The richness of signs (signifiers) in art includes the use of symbols, icons, and indexes as they reveal layers of meaning. See how, in different historical eras, symbolic associations change over time, how icons visually represent a subject, and how indexes exhibit direct connections with the thing signified. x
Portraits—How Artists See Others
In examining the diverse functions and types of portraits, study the important elements of facial presentation and the subject's position and gaze with relation to the viewer and the pictorial space. See how Rembrandt added dramatic power to his group "corporation" portraits, and how David carefully rendered Napoleon in symbolic terms. x
Self-Portraits—How Artists See Themselves
Across the centuries, self-portraits fascinatingly reveal the changing role of the artist. Follow this progression, from Renaissance painters subtly placing themselves within large compositions, to self-portraiture's emergence as a major form of self-revelation, noting many dramatic and colorful traditions within the form. x
Landscapes—Art of the Great Outdoors
In this lecture on landscape painting, observe the classical, balanced division into foreground, middle, and background, and how Romantic painters altered these proportions to express drama, infinite space, and the sublime. Discover proportion and composition in landscapes of the Hudson River school, Luminism, Impressionism, and also the subgenres of seascapes and cityscapes. x
This lecture integrates elements including color, line, shape, composition, light, symbolism, point of view, and focal point. Using the viewing tools you've developed, look deeply at four diverse masterpieces, including a sculpture by Thorvaldsen, a "vanitas" still life by Van Oosterwyck, a lithograph by Bonnard, and a painting by Van der Weyden. x
Early Renaissance—Humanism Emergent
Contemplate the Renaissance phenomena of classicism and humanism in 15th-century Italian art, which focused—even in religious art—on the human body, nature, and depictions of earthly life and the individual. Learn how to recognize Early Renaissance art in characteristic subject matter and stylistic technique. x
Northern Renaissance—Devil in the Details
Flanders and Germany also witnessed an explosion of art in the 15th and early 16th centuries. Define the stylistics of great Northern Renaissance oil painting, such as the use of cool light, richness of detail, and the depiction of fabric. Conclude by charting the development of the historical "canon" of universally recognized artworks. x
High Renaissance—Humanism Perfected
The Italian High Renaissance saw the full flowering of humanism and classicism. With reference to the era's thought and practice, delve into masterpieces by three of history's greatest geniuses: Raphael, Leonardo, and Michelangelo. Last, explore the composition of Raphael's School of Athens as it represents the sublime embodiment of High Renaissance ideals. x
Mannerism and Baroque—Distortion and Drama
Two important artistic movements followed the High Renaissance. Beginning with late Michelangelo, Tibaldi, and El Greco, explore the hallmarks of Mannerism, including deliberate distortions of proportion and perspective and use of tertiary colors. Then, in the works of Caravaggio, Rubens, and others, define the essence of Baroque art in its dramatic, exuberant expansion of classical style. x
Going Baroque—North versus South
Baroque style flowered in key regional variations. See the influence of the Counter-Reformation in southern Europe in dazzling religious images intended to excite and teach. Grasp the classical ethos of French Baroque and the Dutch diversity of subject matter and dramatic use of light and space in the North. x
18th-Century Reality and Decorative Rococo
The sensuality of Rococo art mirrors 18th-century upper-class lifestyle and sensibility. Explore the evocation of intimate hedonism in Watteau, Boucher, Fragonard, and other Rococo masters, specifically through their imagery of lovers, social life, and pastoral pleasure. Then, define Rococo style in its graceful curves and characteristic use of paint and color. x
Revolutions—Neoclassicism and Romanticism
The early 19th century saw the emergence of two compelling and highly contrasting styles. Referencing the art of Napoleonic painter Jacques-Louis David, discover the tenets of Neoclassicism, specifically its ordered composition and emphasis on stoicism, morality, and rational control. In works by Eugène Delacroix, find the spirit of Romanticism and its concern with dramatic proportions, emotion, and spirituality. x
From Realism to Impressionism
In canvases of Millet, Courbet, and Manet, observe the Realist ideals of honesty, simplicity, and descriptive colors in revealing contemporary experience. Then, explore the phenomenon of Impressionism, highlighting Renoir, Monet, and Degas—their fascination with natural light, quest to capture the moment, and iconic subject matter of middle-class leisure life. x
Postimpressionism—Form and Content Re-Viewed
The term "Postimpressionism" comprises a varied and highly innovative body of art. Here, learn how Postimpressionist painters such as Cézanne and Seurat were driven by what they perceived as a loss of form in Impressionist art. See also how Symbolists Gauguin and Munch used increasing abstraction to convey deeper psychological meanings. x
Expressionism—Empathy and Emotion
In defining the bold sensibility of Expressionism, explore its use of violent colors, stylistic distortions, and sculptural application of paint. Also contemplate its influences (including contemporary philosophers as well as Freud) and its goal to provoke empathy and thus touch the viewer at the innermost level. x
Cubism—An Experiment in Form
Investigate the visual elements and the three phases of this hugely influential movement, based in its geometric fracturing of forms and multiple, interlocking meanings of line and shape. Find borrowings and echoes of Braque's and Picasso's Cubism in diverse 20th-century painters and experiments in Cubist-derived sculpture. x
Abstraction/Modernism—New Visual Language
Abstraction and Modernism forged a daring new definition of art, breaking dramatically with the past. Discover the philosophical and experiential underpinnings of abstraction and nonrepresentational art, now radically freed from imitating nature. Encounter art's new language in visionary works by Kandinsky, Marc, Pollock, De Kooning, and others. x
Dada Found Objects/Surreal Doodles and Dreams
Contemplate the "anti-art" spirit of Dadaism, its nihilistic yet humorous indictment of civilization and bizarre use of unconventional media. In the sensibility of Surrealism, observe its compelling focus on the subconscious and two substyles—dream imagery, with its juxtaposition of objects and settings, and "automatic drawing," eliciting unplanned images from the unconscious. x
Postmodernism—Focus on the Viewer
In the 1960s, Pop art, Op art, and minimalism brought yet another far-reaching redefinition of art. Learn to recognize these three distinct postmodern visions, and see how they shared a common rejection of the traditional focus on the artist, aiming instead to create works that exist only for the viewer's interpretation. x
Your Next Museum Visit—Do It Yourself!
The final lecture opens with a detailed and thought-provoking guide to museum-going. Consider ways of making the most of visits to permanent collections and special exhibitions in both large and small museums. Conclude with a sumptuous review involving masterworks from the many eras, movements, and schools you've looked at. x
288-page course synopsis
Sharon Latchaw Hirsh, Ph.D.
Rosemont College
Dr. Sharon Latchaw Hirsh has served as president of Rosemont College since 2006. She completed her undergraduate degree in the history of art and studio art at Rosemont and earned her M.A. and Ph.D. in the history of art from the University of Pittsburgh. Professor Hirsh's awards include the Charles A. Dana Award for Distinguished Teaching, the Ganoe Award for Inspirational Teaching, and the Lindback Award for Distinguished...
(Set) How Colors Affect You: What Science Reveals & How to Look at and Understand Great Art
(Set) Leonardo da Vinci & How to Look at Great Art
(Set) Museum Masterpieces: The Metropolitan Museum of Art & How to Look at and Understand Great Art
(Set) How to Look at and Understand Great Art & A History of European Art
(Set) How to Look at and Understand Great Art & How to Listen to and Understand Great Music
(Set) How to Look at and Understand Great Art & From Monet to Van Gogh: A History of Impressionism
(Set) How to Look at and Understand Great Art & Museum Masterpieces: The Louvre
(Set) How to Look Great Art & Understanding Great Structures
(Set) 30 Masterpieces of the Ancient World & How to Look at and Understand Great Art
(Set) Fundamentals of Photography & How to Look at and Understand Great Art
(Set) Understanding Great Art
How to Look at and Understand Great Art & World's Greatest Paintings
(Set) How to Look at and Understand Great Art & Masters of Photography
(Set) Music and the Brain & How to Look at and Understand Great Art
(Set) How to Draw & How to Look at and Understand Great Art
(Set) Fundamentals of Photography II & How to Look at and Understand Great Art
How to View and Appreciate Great Movies & How to Look at and Understand Great Art
(Set) How to Paint & How to Look at and Understand Great Art
How to Look at and Understand Great Art is rated 4.7 out of 5 by 150.
Rated 5 out of 5 by aleblanc from Worth every penny Professor did a great job bringing someone with no experience to a point where i can appreciate all styles of art
Rated 5 out of 5 by dot234 from Look at Art Differently I purchased this course and have recommended it to all of my docent friends at the Museum where I live. It has all the basics and more. So very enjoyable and informative. This will definitely make us better docents.
Rated 5 out of 5 by JPK45 from Fascinating and Practical This is my favorite visual arts course. I learned so much about art that I can now apply to greater appreciation of a museum visit. When going on a trip that includes museums I often review the relevant parts of this course before going. This course is guaranteed to expand your appreciation of western art and make your visits to museums more rewarding. Take the video as the art pictures are an essential part of the course.
Rated 5 out of 5 by Omnivore2 from An outstanding art-appreciation course I watched this course (in 2013, when I originally wrote this review) with my wife, an amateur artist. We agreed that this was as good a course as any we'd experienced to date. The professor is warm, articulate, organized, and exceedingly authoritative. It's quite different from the other two art-appreciation courses we have taken, analyzing the style and elements of the periods and styles in some detail. For one thing, the course is more consistently organized and bracketed by specific objectives and concrete take-home points; its course booklet is also an outstanding stand-alone reference. We re-watched several of the lectures in 2018, now with about 100 courses under our belts, and all the observations above definitely still hold.
Rated 5 out of 5 by dunfly from Excellent overview for the novice I just finished the series and found it to be very informative for the novice with no prior study of art appreciation (which applies to me). Ms Hirsh is an excellent lecturer and provides great insight into art. I learned a lot and now find myself looking at art works with a new appreciation.
Rated 5 out of 5 by McLeanite from worth every cent I am a senior citizen just now finding time to take in art in all its forms. To begin can be daunting for the previously uninitiated! This course lecturer is excellent, not a bit snooty, very, very informative throughout. To reap the full benefit of her lectures, one really needs to invest in the course workbooks (there are 2, divided equally between the 36 lectures). Workbooks are great to keep on hand to have as ready reference when heading to a gallery, etc.
Rated 5 out of 5 by Ms Ellie from Comprehensive understanding of visual art Started watching this course on GC Plus and just wanted to own my own copy. When it was featured on sale I took advantage of the offer and am so glad I did. I can now watch it on the big screen with friends instead of curling up with my I-Pad. With its 36 lectures, it does take time to take it all in, especially since you have to be attentive to all the visuals presented. Definitely not an audio presentation!
Rated 5 out of 5 by minhhai from Extremely helpful! I've learned a lot from this course and got very motivated to explore more works of art at local museums. Before taking this course, I knew nothing about paintings and scultures. Prof. Hirch's instructive lectures and fun approach to (enjoy) art have helped me gaining overall understanding of Western art history and styles, and basic tools to read art. In the final lecture, I was surprised by how I was able to identify the style of manyl works of art. I really like Prof. Hirch's effective teaching method and style, and enjoyed the course as a learning journey. I strongly recommend this great course to any lay persons who want to enjoy art but can't afford a formal training.
Rated 5 out of 5 by Banks from How to Look at and Understand Great Art The quality of the instruction is excellent. The pace of the lessons is sufficient to cover the theme quite adequately. The amount of information learned will make any museum visit a more interesting and educational experience.
Rated 2 out of 5 by Trecia from The color value turned me off I'm very new to art and this course has taught me a lot so far. When I got to the lesson on the value of color, I was honestly turned off. There was no reasoning behind why one color was valued higher than the other.
Rated 3 out of 5 by Artsy from Needs to work on pronunciation Decent course, once you've gotten a lot of the theory out of the way. Just a pity that the professor can't get the pronunciation of all the French, Italian and Spanish words or names right. It diminishes her credibility.
Rated 5 out of 5 by Emma on from An excellent course Professor Hirsh communicates clearly. She defines the terms well and provides good examples of these terms. She gently challenges us to appreciate all kinds of art.
Rated 5 out of 5 by Brett Ossman from Different Perspective on Art Will definitely have a different perspective viewing art in the future. I can see why some spend so long viewing a piece of art, when they consider all the aspects in this course. Just make sure anyone you are with is into it as much. LOL Also, gave me some new ideas to consider for my photography.
Rated 4 out of 5 by 88Tevye99 from very informative I'm the sibling of a working artist, but am totally uneducated about art, so this course was just what I wanted and needed. The information in the lectures was clearly explained and illustrated, and was easy to follow, thanks to the low-key presentation presentation of the lectures.
Rated 5 out of 5 by campbellj from Excellent initial course in art AS an introductory course this is a great way to learn more about art as well as different techniques of art.
Rated 5 out of 5 by water gal from How to Look at and Understand Great art I had viewed some of this product that was owned by someone else and I wanted to have one of my own to delve into. I couldn't afford the regular price - but jumped at the chance with your recent sale price. Thank you.
Rated 5 out of 5 by BarbaraJF from Fantastic course and presenter I'm about 1/3 through the videos so far and I love them. Dr. Latchaw Hirsh is an excellent teacher - poised, confident, knowledgeable. She holds my interest throughout the lectures. the subject matter is exactly what I hoped for. As for the delivery methods: I love that I can watch the videos on all my platforms, from desktop to iPad to iPhone.
Rated 5 out of 5 by AnneMag from Fascinating insights into aspects of great art This is an excellent course for the complete beginner who might be overwhelmed when trying to understand great paintings. It starts from basics and works slowly but adroitly up to very complex issues. Along the way we learn techniques, we learn about the context of the art, we learn about the artists and their motivation, we learn about symbols and signs. Who knew why there was fruit in paintings or what vanatas meant? Recommended if you don't understand all the fuss about paintings or if you want to know more about the development of great art. I'm looking forward to my next museum visit. Professor Hirsh is very engaging, very clear and extremely knowledgeable. I will look for other work of hers.
Rated 5 out of 5 by Ed J from How to Look at and Understand Great Art My wife and I were with her cousin who she had not seen for 50 years They stayed at our home for a few days and we went to Yale Art in New haven CT Her cousin and his wife were really into art and we just enjoyed how they looked at all the different art . I decided it was time to learn more and this course is doing that for me. I just love what it has brought out for me. when I go back out to the Art shows and museum's we will be looking at them a lot different. The professor teaching this is just wonderful. Super course
Rated 5 out of 5 by CSch from I am thoroughly enjoying my first Great Course and look forward to doing more.
Rated 5 out of 5 by Hula from Art History Am working through the course and find it very informative and helpful in my quest to better understand what I am looking at when I am looking at when i visit a gallery or museum.
Rated 3 out of 5 by Karl W from Rapid Overview & Yet with Repetition I just finished this course on DVD. I don't consider myself much of an art devotee, although I knew that I enjoyed certain artists and did not like certain others. I hoped to perhaps acquire some appreciation for at least a few styles or artists that I hadn't appreciated before, as well as learn a few more things about how to analyze a piece of art. The course description should make it clear that she is confining herself basically to two-dimensional and three-dimensional visual art (painting of various types, lithographs, sketching, collages, etc. and sculpture) and that she spans a period from the early Renaissance to modern art. This is also almost exclusively Western art (with a bit of Japanese as well). Essentially the first 3 discs describe the various technical aspects used in producing and appreciating art (color, line, perspective, symbols etc. etc.) and also how various types of artwork are actually produced. Here you have some brief videos of the actual creating of less-common types, such as lithographs. The latter three discs then walk through the major styles or schools of art chronologically from the Renaissance to the present. Sharon is always more stylishly dressed than the average lecturer--although not unduly so. For example she looks ready to host a reception of some sort, but not to go out to a dinner party. Her speech is clear, evenly paced, well-inflected, but not dramatic. She tries not to show her personal feelings about various styles, especially if she doesn't care much for them, but occasionally they show through anyhow. She's more free about expressing when she particularly likes something about a piece of artwork. I was disappointed that I did not see a wider range of works and of artists. Some quite famous artists are hardly mentioned, or even not at all. Yes, I did see others that were new to me-but it was very frequent for her to show the same piece over and over again in different lectures--sometimes I think as many as four times viewing the same work, and twice or three times was really common. How many other works could have been shown, if the repetition had been reduced? Since this seems to be her specialty, I should think she'd have access to a wider selection to show us. Also I would have appreciated a little deeper analysis of the work shown, including perhaps using a laser pointer or even her finger to explain some aspects of the work that would enhance appreciation of what you're seeing. Her explanations regarding an individual piece were usually confined to pointing out perhaps three to five aspects of its style, but tended to leave me wondering what made it different (better? worse?) than others in that style; what would have particularly struck a contemporary viewer at the time; whether the author had said anything interesting about the work himself or herself, or why I should care that I was looking at it now. I also think a few more interesting stories about the lives of at least a few of the most prominent artists in various styles, might have kept me more engaged with their works. Yes, she briefly discussed the cultural and artistic background of a few of the artists in order to explain what was new in their style, but not to the degree that made the artist seem real or interesting. In summary, although she's quite easy to listen to, I thought I might gain either more depth or more breadth of exposure after six DVD's. I know the history covered is pretty long; perhaps some things should have been left out in order to have a better appreciation for the rest: for example leaving out sculptures completely for a separate course, and some of the details of production technique, as well as less repetition of the same images, would have allowed a lot more coverage of paintings in Western art.
Rated 5 out of 5 by Pilgrim1581 from Picture this! Hirsh is an elegant lady, poised, graceful, a perfect match for her topic. Her content is easy to follow. It is a great presentation. I thought she she could have avoided using some of the same images over and over to make a point, but she did have plenty of variety. Well organized, each half hour lesson seems to go by very fast. She has an easy flow and style. While watching her, notice her wardrobe changes. She looks fresh and new every half hour. Maybe I have a crush on her.
Rated 4 out of 5 by Kevin F from Outstanding Content I've taken other art courses from The Great Courses and loved them all, but what I'm learning in this course ties them all together. I would even suggest to others that they take this course first before moving on the courses on European art or specific masterpieces. The only reason this didn't get five stars is because Professor Hirsch's annoying use of the word "actually", which comes up without necessity repeatedly throughout each lecture. It got to the point where I had to prevent myself from using it. How did the producer/director not catch that?
Rated 5 out of 5 by DavidS1968 from It ended! :( I bought this course being totally ignorant of art in general. My background is music and textiles. I was nervous about purchasing this course but that nervousness disappeared from the first lecture. Each and every lecture was an adventure, with ties to current history and social climate helping to make sense of how this was reflected in the art world. My only negative is that it ended, but I picked Rococo in the first pop quiz painting, so I guess I am now no longer ignorant of art. I would happily pay for another series of lectures from this presenter.
Rated 5 out of 5 by Elisabeth from I cannot rate this course highly enough. First of all Professor Hirsch is the most highly polished presenter I have yet encountered with the Great Courses. Her smoothly engaging manner of presentation, (most importantly... the absence of distracting mannerisms), the comprehensive content, her clear and concise explanations and especially her way of engaging me, the viewer, has left me feeling as though I have completed one of her courses in person. I am extremely confident that I have an excellent overview of the history of art, with the added bonus of understanding the historical contexts of each style.
Rated 5 out of 5 by Jolly Jess from A Gateway to a WHOLE NEW WORLD OF ART Enjoyed this course immensely! I found that she equipped me with the tools to disseminate what make a creative piece a great work of art. I feel like a can speak the language now. I loved seeing the works (some of them familiar) and learn about them. Finding new works to admire was also great fun. I wish that I could've experienced this course sooner.
Rated 5 out of 5 by Jess Hubb from Sick on the couch, I gave in and bought Great Art. Access was immediate thru download, but the DVDs came quickly and the book is great. But that day on the couch, I watched three chapters on my phone. Professor Hirsch is a wonderful and engaging speaker with lots of art examples. This course has enhanced not only how I view art, but the beautiful natural outside world and the sunlight on my child's face. Thank you.
Rated 5 out of 5 by Wrennie from Art history without the class I checked this out from the local library. For 36 lectures, there is a lot of information to absorb since we only had three weeks to view the lectures. I would recommend also reviewing the book that comes with the dvds if you have not consistently studied art history in the past. The one strength that this series provides is that she refers to previous works in a new light to show you how many different ideas can be found in a single painting. She also tries to make connections between previous art periods and show why artists may have been influenced in the past and take those ideas and put them into a new light in the present. Those were things that were missing in the art history course that I had taken, and I was glad to see that she was trying to bridge art movements and make connections to the viewer.
Rated 5 out of 5 by bibliophile from Wondeful overview of art history An excellent survey of Western art history which includes an overview of the techniques and media used in painting and sculpture from the Renaissance to the present. Very much enjoyed the way the lecturer returned to certain paintings again and again, illustrating them from many different points of view. Great examples, including many lesser-known works that deserve to be better known. A number of very interesting interactions between art history and world history are discussed.
How to Look at and Understand Great Art Reviews - page 3
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World's Greatest Paintings
William Kloss
A History of European Art
From Monet to Van Gogh: A History of Impressionism
Richard Brettell
Museum Masterpieces: The Louvre
Great Artists of the Italian Renaissance
Dutch Masters: The Age of Rembrandt
Understanding the Fundamentals of Music
Robert Greenberg
Museum Masterpieces: The Metropolitan Museum of Art
Joel Sartore
Genius of Michelangelo
William E. Wallace
How Colors Affect You: What Science Reveals
William Lidwell
Save up to $77.00 Starting at $17.95 $99.95 $17.95–$99.95
Museum Masterpieces: The National Gallery, London
Catherine B. Scallen
Ricky Allman
The Everyday Gourmet: Rediscovering the Lost Art of Cooking
Bill Briwa
Practicing Mindfulness: An Introduction to Meditation
Mark W. Muesse
Learning French: A Rendezvous with French-Speaking Cultures
Great Tours: Greece and Turkey, from Athens to Istanbul
John R. Hale
Startup Library: Painting with Watercolors
Kateri Ewing
Music as a Mirror of History
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How to Look at and Understand Great Art
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There were exactly two things on my bucket list: 1. Shucking (and eating) oysters with friends outdoors on some summer evening; 2. Curling in Canada.
In honor of my birthday my husband arranged for a group of friends to go with us to an Oyster farm on Long Island.
We arrived at Captree state park with a cooler of beer, where the owner of Blue Island Oysters, Chris Quartuccio, picked us up in a motor boat and ferried us, in two groups, to the small man-made pier-island between Captree and Fire Island. Chris gave us a talk about oysters generally and oyster farming specifically and then we got into kayaks and paddled out to see the oyster beds and their environs. The water was really shallow and incredibly warm - the oyster "bags" were less than a foot from the surface of the water - and it was a gorgeous evening. When we had seen all there was to see, and paddled enough, we went back to the pier-island to shuck (and eat) oysters plus lobster rolls and, later, cake and ice cream. The sunset was literally picture perfect.
Everyone at Blue Island Oysters was just lovely, I learned so much and we all had a really fun time. Thanks to Carl Schweitzer, Bekah Fisk and Pam at Blue Island Oysters for taking the photos!


text:
Now reading: A year to remember for the Class of 2017
A year to remember for the Class of 2017
From late night study sessions, to playing sport and working part-time jobs – the top students from the Class of 2017 all juggled the rigours of Year 12 in different ways.
Above: Duxes and Proxime Accessits from various Catholic colleges gathered on the steps of Parliament House to commemorate their success. Seated front row, from left, Sean Taylor (Sacred Heart), Laura Spencer (Kildare), Nemad Nowrozi (St Paul's), Shamsullah Haidari (St Paul's), Gemma Carauna (OLSH), Ingrid Mowbray (Kildare); second row, Darcy Blaser (St Mary's), Mariana Couto Moniz (Sacred Heart), Tejaspreet Ghataura (Saint Aloysius), Niamh Connelly (Nazareth), Connor Pangallo (Mercedes); third row, Hyunjun Kim (Christian Brothers), Benjamin Fitzgerald (St Michael's), Kyle Sauerwald (Gleeson), Lucy Keatch (Gleeson), Sriram Raj (Christian Brothers), Tam Tran (Blackfriars); standing Shaun Ellis (Cabra), Dominique White (Loreto), Joseph Metcalfe (Xavier), Lawson Nitschke (Rostrevor), Flynn Pisani (Rostrevor), Anja Bancevic (Cardijn), Sonia Haydari (St Columba) and Naomi Gamage (St Dominic's). Photo: Nat Rogers
Wednesday January 31, 2018 Comments
A total of 3661 students from Catholic schools completed the SACE last year, with 314 Subject Merit Awards achieved. Four hundred of these students also completed a Vocational Education and Training (VET) Certificate 3 qualification.
On average, across each Catholic school 27 per cent of all subject grades achieved by students were in the A band.
Eighteen students successfully gained their International Baccalaureate Diploma, obtaining 13 merits, while the efforts of eight students from Catholic colleges were recognised with a Governor of South Australia Commendation (see story Page 17).
Leading the list of high achievers were Benjamin Fitzgerald from St Michael's College and St Ignatius' College's Cassandra Larobina who both attained the highest possible Australian Tertiary Admission Rank of 99.95. Cassandra achieved six subject merits and Benjamin received five.
While the Duxes and Proxime Accessits contacted by The Southern Cross were all delighted with their individual achievements, most agreed it was the Year 12 experience that they would cherish.
As Matilda Coolen (St Mary's College Dux, 98.35) said. "I know that when I look back at 2017 it's not the number I'll remember most, it'll be everything that happened before and everything that made it possible". Special moments included fun with her school friends at the swimming carnival, chanting the school song, the classroom jokes and "lunchtime rush to use the microwave and kettle", as well as "getting excitedly nervous" over university and TAFE applications.
Her advice to students heading into Year 12 was "to not necessarily aim to be the best, just do your best and see what amazing things come from that".
Co-Proxime Accessit for Sacred Heart College, Sean Taylor (99.30), also had some wise words.
"I got pretty bogged down by the workload and started to feel quite down and overwhelmed. But I made sure to talk to all my teachers at Sacred Heart who were more than willing to help and they all accommodated for my feelings to help make it easier for me during the year…," he said.
Louis McDonald (St Francis de Sales Dux, 98.05) hopes his studies in food sciences and human movement at UniSA will be the stepping stone to becoming a nutritionist at an elite sports club. He said it was important students didn't place "too much stress and pressure" on obtaining a certain ATAR.
"Don't think about the final result during the year, just produce work that you're happy with and the results will follow," he said.
Organisation and time management were other 'necessities' highlighted by the top achievers, as was resilience.
Lawson Nitschke, (Rostrevor College Dux, 99.65), had to juggle his studies with swimming training and school commitments of football, cross country, swimming and athletics.
"My advice for people in similar situations is to take on the challenge head on and back yourself. Also, when things are looking tough, be resilient. Resilience is key to remain on top of everything and achieve your very best, even when things are looking drastically unsatisfactory."
Setting high standards in many different ways
Lindy McNamara Tuesday, January 30
While some have opted for a gap year to undertake travel, work and volunteering in 2018, many students are heading to university.
Their areas of interest are as diverse as their study habits, ranging from medicine, law, engineering, psychology, science, food sciences, human movement, international relations, mathematical science, biochemistry, architecture, information technology and music.
Lucy Keatch (Gleeson College Dux, 99.75) is an example of a student following her dreams.
She is using her gap year to pursue a career as a visual artist, to "receive commission work and make connections in the industry". She then hopes to study contemporary art at UniSA and fine arts at the Victorian College of Arts in 2019.
"I want to be an artist and just because I received a 99+ ATAR will not change this.
"People have this view in their heads about people who receive high scoring ATARs and the career paths that follow, but I want to pursue a career that makes me feel alive and makes me beyond happy every day," she said.
Governor's Commendation
Proximae Accessit
More Schools stories
Callum takes top citizenship award
Colourful streetscape
Supported on their faith journey
Jenny Brinkworth Thursday, December 15
Students buoyed by beach visit
Lindy McNamara Wednesday, December 14

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text:
Жито́мирская — женская форма еврейской фамилии Житомирский.

 Известные носители
 Житомирская, Зинаида Викторовна (1918—1980) — советский библиограф и филолог-германистка, внучка сестра К. Г. Житомирского.
 Житомирская, Сарра Владимировна  (1916—2002) — советский и российский историк, архивистка, переводчица, сестра Д. В. Житомирского.
Житомирская, Светлана Яковлевна (род. 1966) — американский математик, специалистка в области математической физики. См. также
 Житомирская (значения)

redpajama_set_name: RedPajamaWikipedia


text:
Daşoguz (turcman: Daşoguz, rus: Дашогуз), anteriorment coneguda com a Tashauz, és una ciutat del nord del Turkmenistan i és la capital de la província de Daşoguz. Segons el cens del 2010 tenia una població de 245.872 habitants.

Antigament fou un punt d'aturada en la ruta de la Seda, perquè hi havia una deu d'aigua, però no va ser fins a l'inici del  que els russos van fundar-hi un fort militar, anomenat Tashauz. El nom de la ciutat va passar a ser Dashkhovuz el 1992, just després de la independència, i finalment Daşoguz per ordre del president Niàzov el 1999. La ciutat moderna és una ciutat d'estructura soviètica amb molts monuments i que fa les funcions de centre administratiu i cultural, i a més és un nus ferroviari. Està connectada amb Aşgabat per via aèria amb Turkmenistan Airlines.

Daşoguz és el principal punt d'accés per als turistes que visiten el Köneürgenç, que és Patrimoni de la Humanitat de la UNESCO.

Referències

 Turkmenistan Project reports.
 IDMC Report.
 STANTOURS - Turkmenistan - Dashogus City / Tashauz.
 H chondrite meteorites.

Ciutats del Turkmenistan


The International Recruitment and Development Program (IRDP) is a two-year program that hires high-potential MBA and Master's students from around the world and helps them develop into the leaders of tomorrow. The program is a career differentiator: IRDP participants gain the expertise and experience they need to take on leadership positions at Johnson & Johnson.
* IRDP participants get comprehensive career tracking, customized professional development planning, and chances to connect with our global alumni network. In addition to opportunities to serve the community, you'll gain access to formal leadership training and executive coaching, as well as our mentorship and buddy program.
* Our ideal candidates have a passion for healthcare. They have a strategic mindset and possess exceptional leadership, communication and interpersonal skills. They should also have the ability to thrive in a highly complex, global work environment, and take the initiative to set priorities and exceed goals.
* You will either be completing a full-time MBA, Master's degree within the coming year or have already done so within the last 12 months.
* You will need permanent work authorization in the country or union where the job is located without the need for sponsorship.
* You'll be fluent in written and spoken English and the language(s) where the position is located.
* Proven leadership abilities, business sense and strong analytical skills.
* Ability to develop Solutions using data driven insights.
* Minimum 3 to 5 years of relevant professional experience prior to enrolling in a Full-Time Master level degree program.


I have found a lot of other people are waking up to some major deceptions these days. We all have a lot in common; most people in our lives don't want to hear about it anymore. Some of the topics are so far-fetched to the general populace they might even think you've gone crazy and need to be committed for what you've been looking into. I understand. I've had those conversations too. If you would like to talk with someone who is not going to judge the things you've been looking into and try to push pharmaceuticals on you, you've come to the right place. We can just chat about what you've been looking into and no subject is taboo. Visit the calendar page on SimplyTrutherTalk.com to make an appointment.
Shape of the Earth: Have we been to the moon? Is the earth a sphere as NASA claims, or it it pear-shaped as Neil deGrasse Tyson claims? Or is it flat, concave, convex, or something else entirely?
Chemtrails or contrails?: Did NASA admit they put trails of chemicals in our air on their official website? Oh, yeah, they did.
Reincarnation: Are we forced to reincarnate on this earth forever or is there a way out?
Are vaccines safe?: Should our children really be given so many chemicals? Can you get a religious exemption since they're not kosher?
False Flags: Why are there so many mass shootings these days? Are they legit, is it because the people are on prescription drugs, or is it all fake?
Are GMOs safe?: Should we be trying to eat as much organic foods as possible and stop eating GMOs?
Hearing voices?: Is it electronic harassment with voice-to-skull (V2K) technology? Are you a targeted individual (TI)? Or are angels speaking to you? Do you think it's your higher self?
Cloning Centers: Are the elite actively cloning people? Do they send people's spirits to cloning centers at night to torture them?
Law of Attraction?: Is the law of attraction "witchcraft" or is it the way Jesus (Yehoshua) taught us to pray?
Is going vegan "Satanic"?: Many Christians are saying it's "Satanic" to go vegan. Is that biblical or should we be going vegan to hasten the kingdom?
Essenes: Were the Essenes the original followers of Jesus (Yehoshua) or were they freemasons? They rejected Paul, the animal and human sacrifices in the bible. They were vegetarians too, just as James the Just (Yehoshua's brother) was.
"Apostle" Paul?: Was Paul false? Did the Essenes have a point when they rejected him? Was the book of James written against the book of Galatians?
Is Jesus (Yehoshua) the creator?: Did he ever claim to be? Or did he only claim to be YHWH's messiah?
Is the demiurge the creator?: Is YHWH of the OT an evil or incompetent demiurge or did the Israelites just call the golden calf by the name "YHWH"? The Essenes wrote about the demiurge and laid out a case against the demiurge, were they right?
Should we reject the NT?: With some contradictions in the NT, should we trust it? Were there codes placed in the NT to show the other Essenes that Paul was false? Did the Catholic Church add verses or did others take them away?
Is the bible "Canon": Is the bible the "Word of God" to be taken as if it is God speaking to us? Or are there errors? The early followers didn't believe in the idea of "Canon" and men added that idea later. Does scripture say we can trust it to be infallible?
Did YHWH ever ask for sacrifices?: With some contradictions in the NT, should we trust it? YHWH says He never asked for sacrifices and then says He did. So what's going on?
Divination: What does the Tanakh/Bible really say about divination?
Corporations & Common Law: The US is a corporation, so should we be "citizens" of it? Our birth certificates are traded on the stock market?


It is important that you let Isaacson, Schiowitz & Korson, LLP help you with your improper safety practices case. Isaacson, Schiowitz & Korson, LLP will try to ensure that your improper safety practices matter is resolved as quickly and efficiently as possible. An attorney with a copious amount of experience will do their best to make sure that Manhattan area clients do not suffer financially because of the negligence of another. If you are from the Manhattan area, call for a free consultation.
If you have been hurt or injured due to the carelessness of another, this is a circumstance that Isaacson, Schiowitz & Korson, LLP may be able to help you with. Isaacson, Schiowitz & Korson, LLP have many years of experience helping clients get back on their feet following unfortunate events. If you are from, or near, the Manhattan area and have experienced an improper safety practices, please call to make an appointment.
For residents of the Manhattan community, the physical trauma of an improper safety practices can often result in financial trauma because of medical bills and other expenses. Isaacson, Schiowitz & Korson, LLP can prevent that from happening by working with clients on their improper safety practices cases to create a strategy that has a high chance of success. An attorney with a great deal of success representing clients is ready to listen to your case.
When you have the experienced legal team at Isaacson, Schiowitz & Korson, LLP on your side, you can depend on us to lead you through the legal process from beginning to end. We are dedicated to representing injured persons throughout Manhattan and surrounding areas. Call (212) 267-6557 to schedule your free initial consultation.


feeling it, keep it up kid!
what happened to Santee's face?
hahahahahhaha, damn that elf looks like he had 2 40's and a blunt.
Damn....Just throw a M80 on Santas face why dont you!
christmass was 24 days ago, common now.


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Welcome to 8tracks radio: free music streaming for any time, place, or mood. tagged with christmas, modern christmas, and Coldplay. You can also download one of our free apps to enjoy internet radio on your favorite device.


1. Begin by shopping for the return address labels you would like to order. While you are shopping, you will probably want to look at our Complimentary Labels page and decide which free Everyday Return Address Labels you would like us to ship along with your order.
2. If you haven't already selected a font, you will want to do that next. Click on The Font and Ink Color Gallery here or on any page. Bachcroft offers over 100 standard fonts that include print, script, and calligraphy. If you choose one of our standard fonts, there are no printing costs. If you'd like Bachcroft to match your font, there is an option for that also.
3. Once you know which font you would like us to use, the Complimentary Labels you'd like to receive, and you've decided which labels to buy, put the number of sheets you would like to order into the shopping basket on the right. Then, click the "Add to Basket" button to begin ordering. While you are ordering, we'll ask for your return address information, your standard font choice, and which Complimentary Labels you would like us to ship along with your order.
4. Click "Check Out" to complete the ordering process online. If you would like to select RUSH (2-3 day delivery) or EXPRESS (next-day delivery) shipping, you can do that on your order form and recalculate your order total. If you would prefer to mail in your order form, click "Printable" (at the bottom of the first page on your order form) to print a copy of your order.
All of Bachcroft's printing services are free, including mailing list printing. If you would like us to print your mailing list onto the address labels you are ordering you will need to provide the mailing list you would like us to print. Below are the two ways to provide your mailing list. Choose either the preferred method or the alternate method.
For many customers, the easiest way to provide their mailing list is to use our online Mailing List Printing Center. The Mailing List Printing Center offers you complete control over how your mailing list is managed, year after year. Since this is your personal, password protected mailing list account at Bachcroft, you can enter you list during one session or a little at a time. And at Bachcroft you can feel confidant that your privacy will always be respected. Your mailing list is used for the sole purpose of printing an order you have placed with Bachcroft. Any other use of a customer's mailing list is strictly prohibited.
To use the preferred method, click on Mailing List Printing here or on any page. Click How to Use The Mailing List Printing Center to see the complete guide with illustrations. Once you are at the center, you will need to set up an account. Fill in the return address information section, even if you are not ordering return address labels. If you ever forget your username or password, simply contact us and tell us the name and address you entered in your return address section. We'll be able to quickly search for your account and send your login information to your email address.
Next, type or paste in your mailing list. If your mailing list is already in Microsoft Word, you can use the copy and paste method. Begin by copying the name and address of the first person on your list. Then, switch to your Bachcroft account, and on the "Customer Information" page click on "Create Your Mailing List Now." Paste the information you copied into the box on the left and click "Parse." The lines of text you pasted in will move into the box on the right and be automatically entered into the correct lines. Now, save the record.
Check to make sure there are no typos and that none of the characters have been cut off. Keep in mind that our printing staff does not edit customers' mailing lists, so be sure to proofread your entry. If a particular line has an unusually large number of characters, make sure that everything you typed or pasted in is visible. If you cannot see a character at the end of a line, we won't be able to see it either. It's been cut off.
Once you've saved that record, you are ready to enter the next one. After you've entered a few records, you may want to click on "Expand Mailing List" (at the top of the page) to see the list of names and addresses you've entered. When you are ready to begin entering your next record, click on "Add New Address" to return to the mailing list entry screen. Notice that your account keeps track of how many names and addresses you've saved. When you are ready to place an order for address labels, you will need to know that.
When you are ready to end your session be sure to log out. Select "Exit/Log Out" and then follow the prompts to complete the log out process. Since The Mailing List Printing Center opens in a new screen, when you log out the last page you were on at Bachcroft will still be open and waiting for you.
If your mailing list is already in an EXCEL spreadsheet or you are planning to use one for your mailing list, you can email it to mailinglists@bachcroft.com after it has been formatted according to the instructions below. Click How to Create a Mailing List in Excel to see detailed instructions for formatting an Excel file for Bachcroft. Bachcroft does not accept Word (MicroSoft Word) files or any other word processing files. The mailing list you email to us must be in an Excel spreadsheet to be accepted.
Begin by formatting your spreadsheet. An Excel spreadsheet is formatted in columns and rows. Although it does not matter how the columns are labeled, you may want to label the five columns like this: Name; Street Address and Apt; City; State (or Province); Zip Code (or Postal Code). If you have any foreign addresses, you will need a sixth column for the country. When it comes to rows, the only rule is never skip any.
Once your spreadsheet has been received and the formatting checked, you will receive a confirmation email from Bachcroft. Generally, you can expect to receive a response the same day. So that we can attach your spreadsheet to your order, in your email please list the name and address of the person who placed the order.
1. Shop for the address labels or mailing label sets you would like to order. While you are shopping, you will probably want to look at our Complimentary Labels page and decide which free Everyday Return Address Labels you would like us to ship along with your order.
2. If you haven't already seen our selection of typestyles, you will want to do that next. Click on The Font and Ink Color Gallery here or on any page you are on. Bachcroft offers over 100 standard fonts that include print, script, and calligraphy. If you choose one of our standard fonts, there are no printing costs. While you are filling out your order form, we'll ask you to select the name of the font you'd like us to use.
3. Once you know which font you would like, the complimentary labels you'd like to receive, and you've decided which address labels or mailing label sets to buy, put the number of sheets you would like to order into the shopping basket on the right. Then click the "Add to Basket" button. When you are finished adding items to your basket, click "Check Out" to complete your online order. If you would prefer to mail in your order form, click "Printable" (at the bottom of the first page on your order form) to print a copy of your order form.
4. Standard shipping (4-5 day delivery) is automatically selected. If you would like to select RUSH (2-3 day delivery) or EXPRESS (next-day delivery) shipping, you can do that here. If your mailing list is in The Mailing List Printing Center, we'll ask for the username and password for your account in the center. If you are ordering mailing label sets, we'll also ask what you would like printed on your return address labels. Customers who are planning to send an EXCEL spreadsheet should select that option. While you are completing your order, we'll also ask you to select a font and a few other options.


text:
Academic Alliance
Accelerator Membership
Bio Business Solutions
Beer & Biotech
Life Science Network
Good Policy Campaign
Life Science Caucus
National BIO Toolkit
LSTCON
Press Statement: October 2 2019
FOUR COMPANIES WILL COMPETE IN LIFE SCIENCE VENTURE FORUM NOV. 14
Annual Pitch Competition Gives Funding Opportunity for Emerging Life Science Startups
Nashville, Tenn. — Life Science Tennessee (LST), a statewide member organization whose mission is to advance and grow the life science industry in Tennessee, today announced four finalists who will compete in the annual Life Science Venture Forum as part of LST's annual conference LSTCON on Nov. 14. This is the first year that companies could apply to compete in the forum. A total of 16 companies submitted applications that were evaluated by mentors within the Life Science Network.
The Venture Forum, sponsored by Waller Lansden Dortch & Davis, gives a platform to emerging life science startups to access funding and potential investment opportunities, as well as marketing support. Each company will have 10 minutes to pitch before a panel of judges who will evaluate each team on IP and commercialization strategy. Finalists will compete for a $5k prize awarded by Waller.
The following companies are 2019 Venture Forum finalists:
VenoStent, based in Nashville, is developing a venous wrap to improve the quality and length of life for the more than 2 million dialysis patients globally. Their device, the SelfWrap, intends to reduce access site failures. This technology can be applied anytime a vein-artery connection is made, including coronary and peripheral artery bypass grafting. It promotes a more desirable, uniform outward vein growth.
Diatech Diabetic Technologies Inc., headquartered in Memphis, is developing a patent-pending smart infusion set that monitors and alerts patients with insulin-dependent diabetes and their caretakers of insulin pump delivery malfunctions. Their product, SmartFusion, is a sensor-based infusion set for insulin pumps that monitors insulin delivery for accuracy and infusion abnormalities.
EDP Biotech Corporation, based in Knoxville, is an ISO-certified in vitrodiagnostics company focused on the commercialization of simple, cost-effective assays used to detect disease early. Their technology, ColoPlex™, is a blood-based test aimed at detecting colorectal cancer at its earliest stages when patients have the best opportunity for successful outcomes.
Winter Innovations, headquartered in Knoxville, is a medical device company that develops novel orthopedic surgical tools to improve patient outcomes in high-risk procedures. Their flagship product, the EasyWhip™, is a specialty needle designed to improve stability, speed, and efficiency of graft stitching, which is a critical component of surgery for torn ligaments and tendons. The EasyWhip™ double-loop stitching needle is the first to leverage removable, connected needle portions to give surgeons more control over the stitching process.
Nashville-based IDBiologics won last year's Venture Forum. The company, which grew out of the academic lab of James Crowe at Vanderbilt University Medical Center, discovers and develops fully human monoclonal antibodies for the treatment and prevention of infectious diseases.
"All of the applications were incredibly impressive and signal the bright future of the industry in our state," said Abby Trotter, Executive Director of LST. "The four companies selected to compete from across the state are a testament to the way Tennessee is driving life science innovation. I can't wait to see them take the stage in November."
LSTCON is a powerful gathering for life science entrepreneurs industry leaders to share the latest innovations moving the industry forward. The conference brings together diverse constituencies from across the state, including AgTech, diagnostics, medical devices, therapeutics, and more who represent the far-reaching impact of the life science industry.
About Life Science Tennessee
Life Science Tennessee is a statewide, non-profit, member organization whose mission is to advance and grow the life science industry in Tennessee through advocacy, partnerships and alignment with economic and workforce development. Life Science Tennessee conducts business and economic development activities; advocates on behalf of the industry; educates the public about the benefits of life sciences research and product development; and provides a network for the exchange of ideas, information and opportunities. For more information, visit www.lifesciencetn.org.
Sara Pruneski2019-10-02T08:08:47-06:00October 2nd, 2019|News|
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Joseph V. Korbal, 84
April 19, 2019 editor1
Joseph Vilas Korbal, age 84, passed away on Saturday, April 6, 2019, at his home in Stevens Point.
Joe was born on September 11, 1934, the son of Roman Korbal and Leonarda "Lenore" (Kehoe) Korbal. After graduating from P.J.Jacobs High School in 1952, Joe attended the university in Stevens Point for two years before serving in the U.S. Army. Joe was stationed at Ft. Sill in Lawton, Oklahoma from 1958 to 1961.
On January 4, 1959, Joe married Mary Ann Steinke and over the years they shared their love of dancing, and their drives to the casino at Bowler to play the nickel slots. Joe retired from Consolidated Papers, Inc. in 1994 and the majority of his 30 years at Consolidated were spent as a utility cost clerk.
Joe was a star athlete in high school and held the record for the 50-yard dash in Stevens Point in the 1950s. He was a shortstop for the Stevens Point baseball league and at one point tried out for the St. Louis Cardinals. Joe was an official member of the Die-Hard Cub's Fan Club and stuck with the Cubs through thick and thin, never giving up on his favorite baseball team. His dedication to the Cubbies paid off in 2016 when he witnessed his favorite team win the World Series.
Joe was a union steward and worked on labor issues at the mill, serving as a representative on behalf of the employees. Joe loved the outdoors, camping, fishing, golfing, and hunting in his younger days. During his lifetime he had three animals that gave him companionship and joy by the names of Cassie, Daisy, and Kiki. He would take Daisy fishing with him and Kiki would snuggle on his lap while Joe watched the History Channel, National Geographic, the Cubs, and C-SPAN.
Joe passed on his love of animals and the outdoors to his three children, Mary Jo, Barbara, and Michael. Joe earned the nickname "By Golly Joe" from all those who encountered him as he would always end his sentences with a hearty, "By Golly!" He was a man who liked to tell a good joke, especially the Irish ones that featured "Father Paddy."
He was athletic throughout his life and walked the five miles every day to the paper mill in order to stay in shape. As our friend and neighbor Steve Chappell told us after dad's death, "I will never forget Joe's bright smile when I would see him walking down Michigan Avenue on his way home from work."
Joe will be missed by his wife, children, brother John, nieces and nephews, and relatives. So now that Joe is dancing and smiling with the angels, we would like to tell him one final thing: "Joe, we love you and we will miss you every day, by golly!"
He is survived by his wife Mary Ann (Steinke) Korbal, three children Mary Jo, Barbara, and Michael Korbal and his beloved younger brother John Korbal.
He was preceded in death by his parents.
Online condolences may be sent by visiting online www.shudafuneral.com.
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January 5, 2019 January 10, 2019 editor1
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May 9, 2018 editor1
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Bobby Brown on reliving Bobby Kristina's death for 'The Bobby Brown Story': I wasn't able to sit through them filming that
September 4th, 2018 by KRNB
BETThe two-part Bobby Brown Story premieres tonight on BET, and for the "Don't Be Cruel" singer, the scenes depicting the death of his daughter, Bobbi Kristina, were the most difficult for him to watch.
"Still going through missing her and not having her here," Brown says. "I wasn't able to sit through the visual part, them filming that."
Following the success of The New Edition Story in 2017, The Bobby Brown Story details the singer's entire life, from his Boston childhood through the present. The Grammy Award-winner says he agreed to produce the biopic because he feels the press has misrepresented him, especially, he feels, through reports that he abused his former wife, Whitney Houston.
"The stories that's been told about me are untrue, are false, so we're just correcting everything that, you know, the press has believed about me," Brown says. "That's the basic reason we did this film, was to be able to tell my side of the story."
Brown does not deny he's struggled with alcoholism and drug abuse. He says facing those problems were necessary for his personal development.
"I've been through ups and downs and some of the things I'm not proud of," he says, "but in order to get where I am right now, I had to go through them."
The 49-year old has been married for six years to Alicia Etheredge, and they have three children, and Brown says now he's enjoying his life.
"I have bad feelings of some of the choices I've made, but no regrets," he adds. "To regret something is to not learn and grow and I've been able to grow and I'm happy right now."
The Bobby Brown Story airs tonight and Wednesday at 9 p.m/8 p.m. Central, on BET.
bobby brown Death Filming Kristina's reliving story the through wasnt
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Why SNMP isn't a "message in a bottle".
The presentation started with a quick overview of IP networking at the transmitter site. How most devices now come with embedded mini-web servers, but more and more also now come with SNMP agents. Basic SNMP background was covered (TCP vs UDP, MIB's & OID's, GET, SET, TRAP, Agents and Managers). To finish-off and demystify the concept, a live example was presented with a Davicom DV-Mini unit connected to an APC Power Strip.
Following the presentation, John fielded many questions about SNMP and practical implementation of Davicom products in a broadcast setting. John brought a door prize that was given to our own John Reiser, who was chosen by the random number generator in Mike Benonis' cell phone. John also provided Davicom desk calanders to those in attendance.
John Ahern has been involved with radio and RF since the late 1970's when he obtained his ham radio ticket (VE2DBV) and began connecting early microcomputers to his Heathkit and Drake radios. He obtained his BEE and MEE degrees in 1980 and 1984 (respectively) from Laval University where he worked as a research engineer until 1992. That year he made the jump into private industry when he became DOE and then CEO of Comlab Inc.
Comlab started out by working on the design and development of state-of-the-art telecommunications training systems for a partner named Lab-Volt, now part of the Festo Didactic family. In 1993, following a request from the Canadian Broadcasting Corporation (CBC) and also from a public safety agency, Comlab developed a complete line of remote monitoring, alarm & control systems for radio, TV and wireless transmission sites. These systems, which are manufactured under the Davicom brand name, have been sold to prestigious clients like the CBC, Bell Mobility, the British Broadcasting Corporation (BBC), Univision, Canada's National Weather-Radio network, American Family Radio (AFR) and many stations of the US Public Broadcasting System (PBS), among others.
Over the years, new capabilities have been added to maintain the product's position as an industry innovator. From initial VT-100 terminal communications, through the addition of fax & voice capabilities, the units have evolved to the present secure-Internet version with SNMP V3 functionality and iOS/Android App support.
Thanks to our friends at WMAL who hosted our meeting at their studio facility in Northwest Washington and provided a detailed and thorough facility tour. Thanks also for Davicom/Comlab for the delicious bite to eat.


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The new Molteni&C 2018 advertising campaign
The iconic buildings of the Lombard capital designed by Gio Ponti in the second half of the last century - such as the Pirelli tower (1956), the Montedoria building (1971) and the church of San Francesco al Fopponino in via Paolo Giovio (1964), as well as the Public Gardens in Corso Venezia, green symbol of the city - communicate via a clever interplay of reflections with the design icons featured in the Molteni&C Heritage Collection. An emotional set underlining Milan's primary role as world capital of design and of the Molteni&C brand, acknowledged as an international ambassador of style and modernity.
D.156.3 armchair and Pirelli Tower Milano design Gio Ponti
The protagonists of the campaign are the D.156.3, D.154.2 and D.153.1 lounge chairs, and the D.555.1 coffee table, designed by Gio Ponti in the second half of the 1950s, alongside Werner Blaser's chest of drawers (1955) and Yasuhiko Itoh's bookcase (1959) the first prototypes of modern furniture being produced today. Furniture included in the Heritage Collection project, which aims to highlight key historical pieces of Italian design, re-edited with attention to the original thanks to the contribution of historians and experts and of archival sources such as the Gio Ponti Archives and the Molteni&C Archives. A forward-looking collection, illustrated today in an unusual way.
#molteniheritagecollection
D.154.2 armchair and Montedoria Building Milano design Gio Ponti
D.156.3 armchair and Via Paolo Giovio 31 Milano design Gio Ponti
D.555.1 coffee table design Gio Ponti and Giardini Pubblici Milano
MHC.1 drawer unit design Werner Blaser and Giardini Pubblici Milano
MHC.2 bookcase design Yasuhiko Itoh and Giardini Pubblici Milano
The concept of the 2018 advertising campaign is by Carina Frey and Stefanie Barth. In 2009, combining years of experience in fashion, design, art and film making Carina and Stefanie redesigned the French fashion, art and lifestyle publication "Double", which received the ADC Paris prize. They now work between Paris and Milan, for clients such as Hermès, Céline, Chloé, Max Mara, Flos, Dedar and most recently on the new campaign for Molteni&C.


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Home > List of families > Woodsiaceae > Athyrium > newtonii
Athyrium newtonii Baker
Selected images: Click on each image to see a larger version and details of the record View all images (1)
Photo: Petra Ballings
Chimanimani, Tessa's pool
Detailed records: Display species records QDS maps by: Google Maps Point records by Google Maps
Species details: Click on each item to see an explanation of that item (Note: opens a new window)
Synonyms: Asplenium filix-femina sensu Sim
Asplenium laxum (Pappe & Rawson) Kuhn
Athyrium laxum Pappe & Rawson
Athyrium scandicinum (Willd.) C.Presl var. rhodesianum Schelpe
Athyrium scandicinum (Willd.) C.Presl subsp. newtonii (Baker) Verdc.
Status: Native
Rhizome erect, usually up to 5 mm in diameter, sometimes forming a small caudex of 15 × 1.5(4) cm; rhizome scales pale brown, lanceolate, entire, up to 7 mm long. Fronds tufted, arching, herbaceous. Stipe straw coloured, up to 50 cm long, about half as long as the lamina, glabrous above, sparsely set with scales similar to those on the rhizome towards the base. Lamina narrowly ovate-lanceolate in outline, 22-60 cm × 12.5-35 cm, 3-pinnatifid to 3-pinnate, basal pinnae slightly or not reduced in size. Pinnae 9-18 pairs, opposite to alternate, set at 90° to the rhachis, lanceolate in outline, apex shortly tapering to a point; basiscopic pinnules slightly longer throughout the lamina. Pinnules bluntly ovate-deltate, about twice as long as broad, glabrous on both surfaces, margin deeply pinnatifid to serrate lobes, with acroscopic lobes more developed. Rhachis pale brown, hairless but with few hairlike scales at the pinna junction above. Sori up to 1(2) mm long, elongate, curved or J-shaped; indusium brown, subentire.
Notes: Could be confused with A. schimperi, which is a grassland species with a creeping rhizome and basal pinnae that are obviously reduced.
Derivation of specific name: newtonii: named after Francisco X.O. de A. Newton (1864-1909)who collected the type specimen from West Africa.
Habitat: Deep shade on wet forest floors and on rocks in streambanks and at waterfalls.
Altitude range: (metres) 1100 - 2075 m
Worldwide distribution: Central and tropical Africa to eastern South Africa, Madagascar.
Zimbabwe distribution: E
Growth form(s): Lithophyte, terrestrial.
Endemic status:
Red data list status:
Insects associated with this species:
Spot characters: Display spot characters for this species
Images last updated: Saturday 17 August 2013
Burrows, J.E. (1990). Southern African Ferns and Fern Allies. Frandsen, Sandton. Pages 273 - 274. As A. scandicinum var. scandicinum and var. rhodesianum (Includes a picture).
Burrows, J.E. & Burrows, S.M. (1993). An annotated check-list of the pteridophytes of Malawi Kirkia 14(1) Page 96.
Chapano, C. & Mamuto, M. (2003). Plants of the Chimanimani District National Herbarium and Botanic Garden, Zimbabwe Page 8. As Athyrium scandicinum
Crouch, N.R., Klopper, R.R., Burrows, J.E. & Burrows, S.M. (2011). Ferns of Southern Africa, A comprehensive guide Struik Nature Pages 716 - 717. (Includes a picture).
Da Silva, M.C., Izidine, S. & Amude, A.B. (2004). A preliminary checklist of the vascular plants of Mozambique. Southern African Botanical Diversity Network Report No. 30 Sabonet, Pretoria Page 16. as Athyrium scandicinum
Jacobsen, W.B.G. (1983). The Ferns and Fern Allies of Southern Africa. Butterworths, Durban and Pretoria. Pages 404 - 406. As A. scandicinum var. scandicinum and var. rhodesianum (Includes a picture).
Mapaura, A. & Timberlake, J. (eds) (2004). A checklist of Zimbabwean vascular plants Southern African Botanical Diversity Network Report No. 33 Sabonet, Pretoria and Harare Page 10. As A. scandicinum (Willd.) C. Presl
Roux, J.P. (2001). Conspectus of Southern African Pteridophyta. Southern African Botanical Diversity Network Report 13 Page 137. As A. scandicinum (Willd.) C. Presl (Includes a picture).
Roux, J.P. (2009). Synopsis of the Lycopodiophyta and Pteridophyta of Africa, Madagascar and neighbouring islands Page 214.
Schelpe, E.A.C.L.E. (1970). Pteridophyta Flora Zambesiaca Page 204. As A. scandicinum var. scandicinum and var. rhodesianum (Includes a picture).
Wursten, B., Timberlake, J. & Darbyshire, I. (2017). The Chimanimani Mountains: an updated checklist. Kirkia 19(1) Page 80.
Other sources of information about Athyrium newtonii:
Flora of Malawi: Athyrium newtonii
Flora of Mozambique: Athyrium newtonii
External websites:
African Plants: A Photo Guide (Senckenberg): Athyrium newtonii
African Plant Database: Athyrium newtonii
BHL (Biodiversity Heritage Library): Athyrium newtonii
EOL (Encyclopedia of Life): Athyrium newtonii
ePIC (electronic Plant Information Center): Athyrium newtonii
Flora Zambesiaca web site: Athyrium newtonii
GBIF (Global Biodiversity Information Facility): Athyrium newtonii
Google: Web - Images - Scholar
GRIN (Germplasm Resources Information Network): Athyrium newtonii
iNaturalist: Athyrium newtonii
IPNI (International Plant Names Index): Athyrium newtonii
JSTOR Plant Science: Athyrium newtonii
Kew Herbarium catalogue: Athyrium newtonii
Mansfeld World Database of Agricultural and Horticultural Crops: Athyrium newtonii
Plants of the World Online: Athyrium newtonii
Tropicos: Athyrium newtonii
Wikipedia: Athyrium newtonii
Hyde, M.A., Wursten, B.T., Ballings, P. & Coates Palgrave, M. (2022). Flora of Zimbabwe: Species information: Athyrium newtonii.
https://www.zimbabweflora.co.zw/speciesdata/species.php?species_id=170970, retrieved 17 January 2022


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Сервий Сулпиций Галба (Servius Sulpicius Galba) е име на:

 Сервий Сулпиций Галба (понтифекс), едил 209, понтифекс 203-199 пр.н.е.
 Сервий Сулпиций Галба (претор 187 пр.н.е.)
 Сервий Сулпиций Галба (консул 144 пр.н.е.)
 Сервий Сулпиций Галба (консул 108 пр.н.е.), син на горния
 Сервий Сулпиций Галба (претор 54 пр.н.е.)
 рожденото име на римския император Галба (69 г.)


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GRANATSTEIN: National park 'natural fit' for memorial statue
by J.L. Granatstein
Nova Scotia is home to incredible stories, and has long played a central role in Canada's military history.
It was the 25th Battalion (Nova Scotia Rifles) — composed of citizen soldiers from Sydney, Yarmouth, New Glasgow, Truro and Amherst — that took part in some of the most important battles of the First World War. The 25th distinguished themselves in devastating battles at the Somme, Vimy Ridge, Hill 70, Passchendaele and The Hundred Days. This last stands as Canada's most decisive military achievement ever — a sustained chain of victories that brought the Great War to a much faster end.
Over the course of the Second World War, the province served as a hub for training, deployments, and maritime supply traffic that sustained the European effort.
Sydney harbour was a gateway to the U-boat battles in the St. Lawrence, a repair station for ships, and a heavily fortified outward-facing outpost from which convoys crossed the North Atlantic.
In Halifax, hundreds of thousands of Canadian military personnel were channelled through Pier 21 to the European front. The city was an essential way station for Allied ships that fought and won the Battle of the Atlantic — and a key arrival point where thousands of refugees and evacuees shed the turmoil of war and were welcomed to Canada to make new lives.
Tens of thousands of our own, though, left Nova Scotia's shores, never to see their homes again. Their bodies lie in hundreds of cemeteries scattered across the globe, disappeared under the earth of foreign battlefields, or lost deep below the oceans' waves.
It is essential — for the safeguarding of our history and for the sake of our future — that these sacrifices be recognized, preserved, and remembered. The new Never Forgotten National Memorial will do exactly that. And for the reasons laid out here — and for many more that were not — Nova Scotia is an ideal location for it. What's more, the Cape Breton Highlands National Park is a natural fit.
National parks not only protect our natural history — through dozens of Parks Canada interpretive centres, they house and display countless stories of Canada and its people. These places purposefully give Canadians dedicated space to reflect, to learn, and to appreciate and enjoy the land we are fortunate to call our own.
I have been proud to support this multi-year project. I have been equally proud to see the partnership, collaboration, and teamwork between the foundation and Cape Bretoners, including the dedication and enthusiasm of local supporters like Lisa MacLeod. Together, excellent work has been done. I know that this will continue.
I know, too, that great diligence has also been applied throughout. A consulting firm has done an environmental assessment, public community meetings have been held, and feedback has been sought and received through a standing government consultation process. The memorial will no doubt become greater still thanks to that input.
All of this effort has occurred because of a single shared belief: so many Canadians died in service to this stunningly beautiful country they never saw again. We must remember them.
Protecting the past, by telling our stories and preserving our natural heritage, requires work. We can do both.
Historian J.L. Granatstein is a fellow of the Canadian Global Affairs Institute, a retired member of the Canadian Armed Forces, and former CEO of the Canadian War Museum. He is an honorary patron of the Never Forgotten National Memorial Foundation.


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U.S. Wholesale Inventories Edge Slightly Lower In December
By RTTNews Staff Writer ✉ | Published: 2/9/2016 10:21 AM ET
With a drop in inventories of durable goods more than offsetting an uptick in inventories of non-durable goods, the Commerce Department released a report on Tuesday showing a modest decrease in U.S. wholesale inventories in the month of December.
The report said wholesale inventories edged down by 0.1 percent in December after sliding by a revised 0.4 percent in November. The modest drop in inventories matched economist estimates.
The decrease came as inventories of durable goods fell by 0.3 percent in December following a 0.4 percent drop in the previous month.
The Commerce Department pointed to a steep drop in inventories of metals and minerals, except petroleum, which tumbled by 4.4 percent.
On the other hand, the report said inventories of non-durable goods inched up by 0.1 percent in December after falling by 0.3 percent in November.
Inventories of chemicals and allied products jumped by 2.3 percent, while inventories of petroleum and petroleum products plummeted by 7.8 percent.
The Commerce Department also said wholesale sales fell by 0.3 percent in December following a 1.3 percent drop in November.
Sales of non-durable goods slumped by 0.9 percent during the month, more than offsetting a 0.3 percent increase in sales of durable goods.
A 4.5 percent decrease in sales of petroleum and petroleum products contributed to the drop in sales of non-durable goods.
With wholesale inventories and sales both falling, the inventories/sales ratio for merchant wholesalers in December was unchanged from the previous month at 1.32. The ratio came in at 1.24 in the same month a year ago.
Compared to the same month a year ago, wholesale inventories were up by 1.9 percent in December, while wholesale sales were down by 4.5 percent.
AstraZeneca, Scorpion Team Up To Explore New Treatments Against Hard-to-target Cancer Proteins