HVAC technicians install, maintain, and repair heating, ventilation, and air-conditioning systems. These systems allow people to control the air temperature inside various buildings and structures. There are different kinds of HVAC systems, such as oil-fired furnaces and commercial refrigerators and technicians can specialize within the trade. HVAC technicians must be able to understand the operating principals of different systems and to interpret written specifications. Experienced HVAC technicians expand their skills and keep up with current technology by taking additional industry-sponsored courses.
HVAC mechanics and installers work in homes, retail establishments, hospitals, office buildings, and factories - anywhere there is climate-control equipment. Technicians may work outside in cold or hot weather or in buildings that are uncomfortable. Technicians may also be required to work in awkward or cramped positions and sometimes are required to work in high places.
Hazards include electrical shock, burns, muscle strains, and other injuries from handling heavy equipment. Appropriate knowledge and equipment is necessary when handling refrigerants because inhalation and/or contact can cause skin damage, frostbite, or blindness.
Must be in good physical condition and have a valid driver's license.
Must be 18 years old and a high school graduate or equivalent. Must pass aptitude test, and submit an application.
The training program is five years consisting of no less than 8,430 total hours of on-the-job training with a minimum of 576 hours of paid related classroom instruction and 30 hours of unpaid night classes.
Go to the ABC of WI Apprenticeship Office and pick up an application or fill out an application request online.
Pass the basic reading, writing, and math test that is required per application.
Achieve a passing score on algebra, arithmetic and reading portions of the Accuplacer test. The Accuplacer test is available at Gateway's Kenosha & Racine campuses and the cost is $15. Contact Michelle James, Testing Manager, at (262) 564-2542.
Have a copy of your Driver's License, Accuplacer Test Score, High School Diploma or Equivalent, and a completed Apprentice Application sent to the ABC of WI Apprenticeship Office.
You will receive a letter of introduction and a list of ABC of WI approved apprenticeship trainers for HVAC. Your letter of introduction should be presented to local ABC of WI approved apprenticeship trainers when applying for an apprenticeship job.
You MUST find an ABC of WI approved apprenticeship trainer to hire you before you can become an apprentice.
Once hired by an ABC of WI approved apprenticeship trainer, you will be invited to meet with the Apprenticeship Committee for final approval and to sign your contract.
Gateway Apprenticeship Department will notify you regarding registration, classes, and books.


text:
Lemons to Lemonade
When life tries to knock you down, fight back!
Karen Millsap
There's so much pain, heartbreak and destruction in this world and it hits all of us differently. This Is Us paints an accurate picture of life losses with truth and authenticity (whew, I cry every episode. I don't know anyone with a pulse who isn't moved by this series).
When I became a widow at 29 I was hit with the exact cinematic illustration of pain that we see in the NBC hit series. When we watch it on Thursdays, we find ourselves getting choked up during moments that express profound love or deep agony. When we cry for Jack, we cry for our personal losses, too. When we feel deep compassion for Kevin's addiction, Randall's anxiety, Kate's health struggles, Rebecca's grief, William's cancer, Deja's neglection… our own pain is triggered in that moment. It's relatable. It's real. It's a universal feeling that connects all of us no matter our differences – this is ALL of us.
Whatever brings you to your knees, let me tell you, you can not only stand up again but you can also step into growth and rebuild yourself into the best version of you.
Dr. Katowski said it best in the first episode, you can "take the sourest lemon life has to offer and make something resembling lemonade."
It's true. Trust me, I'm living proof that we can go through the most unimaginable tragedy and find our way back to a whole heart through simple choices that activate healing. Life will frequently hit us with ups and downs; that's why it's important that we have practical tools to help us navigate hardships in a healthy way – this will restore our joy and build resilience.
Here are a couple of examples of Lemons to Lemonade:
Viola Davis (Excerpt pulled from interview with Brene Brown)
"I spent the first three-quarters of my life feeling like a square peg in a round hole. I did not physically fit in. I lived in an Irish Catholic area of Rhode Island—white girls with long blond hair. I was a kinky-haired girl with dark skin who spoke different. I wasn't pretty. I carried the trauma of growing up in abject poverty—the daughter of a violent alcoholic. I was a bed-wetter until I was twelve or thirteen. I smelled. Teachers complained about the smell and sent me to the nurse's office. My language for belonging was about survival: Can I take a hot shower? Is there food today? Will my dad kill my mom? Will there be rats in the house? I spent all of my energy hiding and keeping the brutality of my life secret. I carried this dysfunction with me into my adult life." Although her childhood and upbringing left deeply rooted pain, Viola sought tools to heal from these wounds and she says it wasn't until she was in her late 30s when she realized that her past did not have to define her.
Terry Crews (Excerpt pulled from article on ABC News)
"It's hard to believe Terry Crews has ever been anything but a positive person, but he says that many of the entertaining aspects of his personality that he is known for came from moments of great sadness in his life." Terry comes from an abusive home and vividly remembers watching his father beat his mother countless times. He says he begged her to leave, and as a young boy he wanted to protect his mother – he wanted to somehow save her. Tough times didn't stop there. Later in life, "Crews struggled after retiring from the NFL in 1997. The transition from athlete to civilian, he said, is something that he and other football players always have a hard time dealing with. And after football, Crews said he later turned to a career in acting because he was literally hungry." Now he gives back in big ways to women and children who are victims of domestic violence.
Becky Savage (Excerpt pulled from article on CNN)
In 2015, Becky Savage experienced a trauma that's incredibly hard to fathom. "The Indiana mom's two oldest sons, Nick and Jack, were celebrating at high school graduation parties the night before. The boys came home about 12:30 a.m. and checked in with their mom, who had been waiting up. The next morning, as she was picking up laundry in Jack's room, she noticed that he wasn't stirring as she tried to wake him. Nick had slept downstairs in the basement with friends." She called 911. "The first responders arrived and tried to resuscitate Jack, and then she noticed one [of the friends] going downstairs to the basement… then one [of the friends] came up asking for a coroner. That's the last thing that I remember that day." Nick and Jack were both pronounced dead. "Both had accidentally overdosed on hydrocodone and alcohol. Someone at one of the graduation parties had passed around the prescription pills. Savage says the boys had never been in trouble with drinking or drugs. They just happened to make a bad choice that unfortunately cost them their lives." They started a foundation to share their story and prevent "another family from having to endure the pain" they experienced. Becky has spoken in front of approximately 23,000 students and was also invited to testify before a US Senate committee dealing with the opioid crisis.
No, it's not easy walking through this life beat up, torn down, and with heavy heart. It's hard as HELL!!! But take it from me, Viola, Terry and Becky, you can choose how life's toughest moments impact your life. You don't have to stay in a bitter, destructive, miserable place – you can heal, grow and help serve others who are bearing similar pain.
Still sounds too far fetched? I know, I remember that feeling. But that's why sharing tools, resources, healthy habits, books, and encouragement with others is critical! I've found that the pathway to a whole heart is in the word HEAL…
H is for HEALTHY BOUNDARIES
Set healthy boundaries as you focus on personal growth. We can't allow others to poison what we're trying to grow. There are many ways to set healthy boundaries – emotional, mental, and physical. It applies to people you work with, family, friends, and even our connection to technology and social media.
E is for EMBRACE EMOTIONS
There's no healing if there's no feeling. It's important to learn how to identify our emotions and then properly manage them, otherwise we'll resist the flow of life. There will always be ups and downs, so if we don't learn how to control our erratic feelings, then they will control us.
A is for ACCEPT WHAT IS
We can't change what's happened in the past and we can't control what's going to happen in the future. This is why accepting where we are now is absolutely critical in the healing process. We may not like it, but if we first accept where we are then we can start moving forward in the right direction.
L is for LOVE YOURSELF
This is where most of the work is done because the truth is, we often don't know how to love ourselves. The focus here is self-care; there are simple habits that you can start doing today that will radically transform your quality of life. Loving yourself is loving your whole self, your physical, mental, emotional, and spiritual wellbeing.
If you're ready to release trauma, heartbreak and pain, I invite you to anchor yourself to this thought,
"I am responsible for my healing and I am responsible for my joy. I will honor all of my feelings, good and bad, but I will not let my life be controlled by them. I own my thoughts, words and actions. I will hold my wellbeing sacred and adopt healthy habits that nourish my heart, mind, body and soul."
Resilience & Mindset Coach
The Groflo
When I was just 29, my husband was shot and killed, I became steeped in grief and overwhelmed in pain. One day, my son asked, "Mommy are you going to get up today?" I knew I had to either give up or get up. Today, I am a speaker and mindset coach with a deep sense of purpose to share my personal story with those who want a better life. Strengthen your mind, change your thoughts, and choose a new direction.

redpajama_set_name: RedPajamaCommonCrawl


Singapore & Sydney (23 September, 2015) Vdopia, a global leader in mobile video advertising, added three key staffers to its Singapore and Australia offices, as it seeks to strengthen its presence in the APAC region. Kaye Quema joins as Regional Head of Sales, Southeast Asia (SEA) and will be based in Singapore; Katy Jenkins joins as Partnership & Programmatic Manager for Australia and will be based in Sydney; and Moritz von Sanden joins as Sales Manager for Australia and will be based in Melbourne.
Quema joins Vdopia from a robust tenure at Yahoo!, beginning with Yahoo! Philippines as part of the pioneer team in 2009. She then became Head of Business Operations & Key Accounts for Yahoo! Indonesia, and was most recently Business Lead for Yahoo! Singapore. Prior to Yahoo!, Quema was Online Media Manager & Affiliate Manager for Bayview Technology, Inc., an online gaming company in the Philippines. She began her career in a variety of account management positions with: Admax Network (aka Komli, recently acquired by AdKnowledge), New Media Worldwide (Philippines) and Purple Ace Pte., Ltd (software applications company in Singapore/Manila).
Jenkins has had a successful sales career, specialising in digital media. She most recently shifted her focus towards digital video, selling interactive creative solutions before making her move to Vdopia.
Von Sanden has had a solid and fruitful tenure in the ad tech space, serving in account management roles, delivering end-to-end creative and media solutions across mobile.
Vdopia is a global programmatic buying and selling platform for mobile video advertising. Powered by patent-pending, .VDO technology, Vdopia's programmatic platform, Chocolate, is a brand safe, viewable and transparent platform for complete planning, buying and measurement of mobile video ad campaigns. Vdopia Inc. is a privately held, venture-backed company headquartered in Silicon Valley with offices in Fremont, CA, New York, Los Angeles, Chicago, India, Singapore & Australia.


text:
Q: With X11, how can I get the user's time "away from keyboard" while ignoring certain events? I'm making a little application that needs to know how long the user has been idle — as in, not using a keyboard or a mouse. Both XCB and Xlib promise to give me idle time through their respective screensaver extensions. Here is where I get idle time with XCB:
#include <stdlib.h>
#include <xcb/xcb.h>
#include <xcb/screensaver.h>

static xcb_connection_t * connection;
static xcb_screen_t * screen;

/**
 * Connects to the X server (via xcb) and gets the screen
 */
void magic_begin () {
    connection = xcb_connect (NULL, NULL);
    screen = xcb_setup_roots_iterator (xcb_get_setup (connection)).data;
}

/**
 * Asks X for the time the user has been idle
 * @returns idle time in milliseconds
 */
unsigned long magic_get_idle_time () {
    xcb_screensaver_query_info_cookie_t cookie;
    xcb_screensaver_query_info_reply_t *info;

    cookie = xcb_screensaver_query_info (connection, screen->root);
    info = xcb_screensaver_query_info_reply (connection, cookie, NULL);

    uint32_t idle = info->ms_since_user_input;
    free (info);

    return idle;
}

However, this is behaving very differently than "ms_since_user_input" suggests. If I am watching a video (tested with Totem), the idle time resets to 0 within 30 seconds, without exception. The same thing happens with a number of games, which cause this even when they are paused!
Using XLib, I get the exact same behaviour.
I might be able to improve the code that uses the idle time so this behaviour isn't as much of a problem, but I'd really like to get rid of the problem completely. I would prefer if I was only getting the time since the last user input event (and only the last user input event). I wouldn't mind using some other libraries to get there, as long as my program doesn't generate a lot of traffic.
Do you have any ideas for how this can be done?

A: What you're seeing with totem is it trying to avoid the screensaver kicking in. It does this by sending key event at regular intervals.
You can find the code that does that here: http://git.gnome.org/browse/totem/tree/lib/totem-scrsaver.c#n318
And since the screensaver uses the same extension as you're using this results in your counter hitting zero.

redpajama_set_name: RedPajamaStackExchange


text:
Detroit bankruptcy causes outbreak of woolly thinking
Ruisdael The Jewish Cemetery DIA
Detroit's bankruptcy has occasioned an outbreak of poorly argued, ill-considered and downright silly commentary about the fate of its art museum. Peter Schjeldahl wrote a hasty and careless blog in the New Yorker implying that selling the art collection is a no-brainer, only to recant two days later. Erstwhile libertarian Virginia Postrel wants the pictures sold, but only if she can chose who can buy them. And Tim Worstall tries to make a bold economic case for sale, but this free marketeer understands neither fine art nor free markets.
Postrel argued that Detroit's art should be sold to US museums in larger and wealthier areas - trying to make an economic argument for their sale and a public good argument for their retention by US museums. The logic of these arguments points in opposite directions. They'd be seen by more people in a megalopolis like Karachi (which has 13m inhabitants but no money), and they'd raise more funds if they were sold to the highest bidder - more likely to be a private collector than a public museum. Postrel has failed to make a case for her preferred variety of fudge.
Postrel is known as a libertarian, but her insistence on limiting sales to US museums and her stated preference that the art moves to more dynamic cities reeks of dirigiste authoritarianism, imposing her preferences by insisting on a constrained market. In any case, the idea that some cities are more worthy of great art than others is daft. Yes, it's a historical accident that a small declining midwestern city has ended up with a phenomenal museum of international importance, but lucky them. Florence and Venice are relatively less important cities than in their heyday - should they sell off their art too?
Worstall thinks selling would be 'the very definition of wealth creation' because the buyer by definition values the art more than the money paid, and Detroit can pay pensions and benefits rather than keeping a few pictures "that the well to do like to oooh and aaah at". He's right on the level of this old joke:
Experienced economist and not so experienced economist are walking down the road. They come across a pile of horse manure lying on the asphalt.
Experienced economist: "If you eat it I'll give you $20,000!"
Not so experienced economist runs his optimization problem and figures out he's better off eating it so he does and collects money.
Continuing along the same road they come across another pile of horse manure.
Not so experienced economist: "Now, if YOU eat this I'll give YOU $20,000."
After evaluating the proposal experienced economist eats it and collects the money.
They go on. The not so experienced economist starts thinking: "Listen, we both have the same amount of money we had before, but we both ate horse manure. I don't see us being better off."
The experienced economist replies "Well, that's true, but you overlooked the fact that we've been just involved in $40,000 of trade."
Measured increases in wealth creation are only proxies for human welfare, and trade is a means to an end, not an end itself. We're obviously better off if some 'wealth' isn't created - the wealth we could make from building apartments over Central Park, for example (only used by a few yuppie joggers, as Worstall might say), or from selling Thalidomide. Sophisticated free market economists have always understood these commonplace observations, which are well established in the history of economic thought even if they haven't yet reached Tim Worstall. The irony is that Worstall does a disservice to the cause of free markets by turning it into an absolute principle to be pursued even when demonstrably against the public interest.
The principle of preserving museums in good times and bad is inviolable, and the eternal public benefit is beyond measure. Detroit's museum makes great works of art available not only to their hundreds of thousands of visitors, but in principle to the entire world. Anyone can go and freely get access to see them. Selling them off to billionaires diminishes the public sphere, and destroys wealth by any sensible assessment, because the pictures are enjoyed only by a few dozen privileged people rather than anyone.
Looking at the gain from sale in pure dollar terms is misleading. Worstall's theory is that if Detroit is willing to sell a particular picture if it can get at least $1m for it, and a collector pays $10m at auction, then $9m of value has been unlocked. But measuring the social benefit in these terms is wrong, because the marginal benefit of a few million bucks is trivial to the man with a fortune of $10 billion. Economists recognise that the obvious fact that the marginal benefit of an extra dollar is greater to the pauper than to the millionaire.
A new revenue stream is tapped to the extent that the pictures are sold abroad, but it is humiliating for any nation to resort to selling its cultural treasures abroad to fill its coffers. If pictures are sold to other museums, the public loses to the extent that other pictures not yet in the public domain are not acquired. And if pictures are sold to American billionaires, the money surely could be raised instead by increasing taxes on the very rich. Economists argue about the extent to which marginal increases in taxation are counterproductive, and it's generally accepted that at very high levels tax increases are damaging. But an increase from current relatively low levels in the US would surely be more acceptable than the certain harm arising from selling its cultural patrimony.
Posted by Michael Savage at 10:10 1 comment:
Labels: Art market, Deaccession, Detroit Institute of Arts, Museums
Connected to neither art history nor grumpiness, but I thought I'd share a lucky second hand bookshop discovery that I enjoyed: A Christmas Cracker, being a commonplace selection by John Julius Norwich, 2005. It looks like his version of a Christmas card, signed and inscribed to the recipients. But instead of the usual twee images, it's a wonderful collection of quotations like this from an official English translation of the Japanese Highway Code:
When a passenger of the foot hove in sight, tootle the horn trumpet to him melodiously at first. If he still obstacles your passage, tootle him with vigour and express by word of mouth the warning, "Hi, Hi".
Go soothingly on the grease-mud, as there lurk the skid demon. Press the brake of the foot as you roll around the corners to save the collapse and tie-up.
Ah yes, darn that skid-demon! Even more irresistible was this gem from John Betjeman to Miss Jane Boulenger, whom Norwich suspects is - contrary to Betjeman's assumption - not in fact French:
Chere M'lle
J'ai correcte les typescrips. A la meme temps j'ai made a list of suitable illustrations que je suis keeping pour aide memoire quand nous come to review le whole libre.
C'est tres important pour emphasise au le Major que les illustrations sont tres importants, aussi make-up. J'implore lui ne settez anything up in type until we discuss format et whether je suis going to be allowed couleur aussi whether le libre est not trop plein de discontent & sur la meme note. Aussi comme far ce serai possible departer from photographs.
Sean O'betjeman [sic, passim]
All wonderful stuff.
German Paintings in the Met
Maryan W. Ainsworth and Joshua P. Materman et al German Paintings in the Metropolitan Museum of Art, 1650-1600 Metropolitan Museum of Art/Yale University Press 2013
This is a superb museum catalogue. Brief introduction on the collection, substantive entries on the pictures, good technical information and bibliography. Above all, it's judicious in its assessment of condition and generally balanced on questions of attribution. The greatest problem with museum catalogues is that they are often too uncritical. Some of the catalogues of London's National Gallery are utterly unreliable on questions of condition, believing every wreck to be 'well preserved'. Other catalogues are too optimistic on attribution. I thought the discussion of Holbein and Cranach in this catalogue especially good, rightly downgrading a number of good (but not quite good enough) pictures from Holbein to his studio. The analysis of the Met's Cranachs is also well-reasoned, although it's not a field I'm sufficiently familiar with to comment with any authority. However, I found the discussion of Durer's* Virgin and Child with St Anne (below) more problematic.
Picture: Metropolitan Museum of Art
The catalogue explains that this picture is in much better condition than is generally realised. It also points out that it's on panel, not transferred to canvas as many others have stated (surprising how often errors like this creep in and become firmly established through repetition). The catalogue firmly asserts Durer's authorship, but notes that Claus Grimm questioned it. Grimm is a scholar I admire greatly, but he is renowned for his connoisseurial parsimony. His splendid book on Frans Hals significantly reduces the corpus from Seymour Slive's earlier catalogue, and disputes the celebrated Merrymakers at Shrovetide in the Met - a challenge too quickly dismissed in Walter Liedtke's catalogue of the Met's Dutch pictures. This catalogue again dismisses Grimm without discussing the basis of his challenge, but what particularly piqued my interest was that an endnote points out that Christian Wolf's magnificent recent book on Durer also questions the attribution. It seems wrong to me that this wasn't brought out in the main text. The brusque dismissal of dissenting scholars makes me more sceptical, and I am not satisfied that this catalogue sufficiently establishes the case for Durer's authorship. Whoever painted it, it's one of the most important German paintings in America and merits a longer and fuller discussion than it receives in this catalogue.
Another quibble is that deaccessioned works are mentioned only in a checklist. The Met is notorious for flogging things it's bored by so they can buy shiny new things. Their choices are sometimes spectacularly inept, like this unrecognised Rubens recently sold. It would be helpful if the catalogue included brief entries on deaccessioned works, to give a fuller sense of the collection's history, and to enable independent assessment of their trading strategy.
Quibbles aside, I greatly enjoyed this valuable work on an outstanding and comprehensive collection of German art.
* I can't work out how to do umlauts, or accents, in Blogger and Duerer just looks wrong. Grateful if anyone can help?
Picture: Public Catalogue Foundation
My enjoyment of this lovely show was out of proportion to its quality. Laura Knight is a pleasant but not great artist. Some of the pictures are rather bad. So why did I enjoy the show so much? I liked its modesty, a small scale display of a variety of works. I liked the surprise of discovering an artist of whom I was only dimly aware. And I really liked some of the pictures. The World War II propaganda pictures are much better than I expected, some of the more experimental early pictures are striking and she was a good portraitist. She is said to be relatively neglected because she eschewed modernism and fell out of tune with the times, but she flirted with impressionism and tried out different styles and techniques. Laura Knight will stand the test of time better than many second rate modernists whose techniques were more radical but whose pictures were less good.
Her most innovative picture was of the Nuremberg Trial, but I don't think it works. I didn't care much for the Gypsy paintings, and the portrait of George Bernard Shaw is dreadful, but we can grant her some off-days. Knight was at her best as a more conventional portraitist. I don't mean to damn with faint praise when I say she was a technically competent artist, because there is much to enjoy in her technical competence. I've noticed that almost all the reviews have concentrated on her life rather than her art. She wrote two volumes of autobiography that I look forward to reading, and there's a new biography coming out soon. It's hard to write about the good later portraits because their virtues are rather conventional - but do go along and enjoy them on their own terms.
I'm quite tired of the endless round of predictable shows of great artists (Titian, Vermeer, Rembrandt ... again and again and again). They rarely show us anything new - in fact you can rarely see anything at all through the crowds. Small exhibitions of less familiar and less great artists can be much more rewarding - pleasing in their own right, and giving a deeper appreciation of the greatest artists by enriching our understanding of their context. This is one of the most enjoyable exhibitions I've been to in a long time. Congratulations to the NPG for doing it so well.
My only real disappointment was the catalogue, an outrageous £25 for a flimsy brochure. I had to have it because I'm an incorrigible bibliophile and I wanted a permanent record of pictures that were new to me. It's fine as far as it goes and the pictures are good, but the introduction comes to about eight pages of text padded out with a supplementary timeline, and the catalogue entries are rarely more than a paragraph. The bibliography (sorry, 'further reading' - they're trying to be accessible) looks excellent and I'm going to follow up my new interest in Laura Knight, but I would have hoped that those sources together with the surfeit of acknowledgments could have been a basis for a more substantive catalogue. The material here would better be presented in a cheaper handbook.
The exhibition is well displayed with good wall text and pictures that show a range of style, technique and quality. The gripe about the catalogue aside, this is a splendid show.
As Detroit goes bust, here's Virginia Postrel's argument that they should sell their art. Profoundly wrong and not well reasoned, but provocative and worth thinking about. She confuses an argument for sending art where it will be seen by most people with an argument for letting the market decide where art goes. Either argument is tenable, but she can't decide which she's making:
http://www.bloomberg.com/news/2013-06-06/detroit-s-van-gogh-would-be-better-off-in-l-a-.html
Leander buys a bear. Great blog post about buying art on a budget:
http://theidlewoman.blogspot.co.uk/2013/07/artists-in-focus-derek-chambers.html
Bad decision by CofE (aren't they all?). Excellent common-sense demolition of convoluted reasoning by Church court:
http://www.arthistorynews.com/articles/2315_Curious_judgement_allows_church_to_sell_285m_painting
I'm delighted that Hull has acquired this Lorenzetti, but scared that they've sent it to the National Gallery for cleaning:
http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2013/jul/16/pietro-lorenzetti-christ-saint-paul-saint-peter?INTCMP=SRCH
Not an art story, but I loved this interview with Anthony Grafton. Now I want a stuffed crocodile:
http://www.thedailybeast.com/articles/2013/07/17/anthony-grafton-how-i-write.html
Rembrandt? Probably...
One of the Rembrandt rooms at the National Gallery has been re-hung because the great portraits Jacob Trip and Margaretha de Geer, wife of Jacob Trip are on loan to the Frans Hals Museum. A couple of weeks ago I noticed that this smaller portrait of Margaretha de Geer (above) was listed as 'Attributed to Rembrandt'. I queried it at the information desk because I remembered it as being called simply 'Rembrandt'. I was surprised by the change, partly because I think it's by Rembrandt, and partly because the NG Director has said that he doesn't like using the term 'Attributed'.
I was impressed to get an email shortly after, giving me the full history of its labeling at the NG and sending me the entry on the picture from Art in the Making: Rembrandt. They confirmed that it was previously given to Rembrandt, and they've now updated the label to 'Probably by Rembrandt'. I think the avoidance of the term 'attributed' is silly, and I think the portrait is by Rembrandt, but on this occasion I think the new label is spot on. The NG is right to reflect scholarly dissent about the attribution, but also the balance of probability towards Rembrandt. Certain technical aspects of the picture are atypical of Rembrandt, and it rather pales beside the awesome power of the finished portrait, usually shown in the same room. But no other artist has come so close to capturing Rembrandt's late manner, and this is a very accomplished picture. The NG website still lists it as 'Attributed to Rembrandt'.
The portraits currently out on loan usually hang on a narrow wall at the end of a long room, which is exactly the wrong place for them. You need to be able to see them from either side to appreciate the brilliance of Rembrandt's artistry. He makes them appear to face towards you from either side, giving a different aspect. They're not meant to be seen only face-on. When they come home I hope they'll be hung on the adjacent wall where pictures by Jacob van Ruisdael and Simon de Vlieger currently hang.
When they were looking for the picture at the information desk they accidentally gave me a sneak preview of future loans, so I got advance notice of their Late Rembrandt exhibition and I know some of the pictures they're getting ... but I'm not going to tell.
Incidentally when I was looking for an image for the blog I came across this Mythological Scene on the Public Catalogue Foundation website. It's actually a copy of Rembrandt's Diana Bathing with Actaeon and Callisto.
American collectors of Spanish Art, and other recently read books
Inger Reist and Jose Luis Colomer (eds) Collecting Spanish Art: Spain's Golden Age and America's Gilded Age Frick Collection 2012
I like Spanish art, I'm interested in the history of art collecting and I'm fascinated by America's gilded age. This is clearly a book for me. It covers the period from 1870 to 1930 when the American economy grew rapidly and the new plutocrats built up wonderful collections of European art. Three parts cover the developing American taste for Spanish art, the great collectors of Spanish art and the great Spanish artists that were collected. Inevitably there's a degree of repetition, but it's a price worth paying for the insights arising from the shifting perspective between collectors and artists.
I'm not convinced by the premise that there was a 'Spanish turn' in American art collecting in the late nineteenth and early twentieth century, as Richard L. Kagan claims in the opening chapter of this book. The thesis is asserted with reference to the interest shown in Spain and in Spanish art, which I grant, but the relative neglect of other schools must be proven to make the case for a uniquely special interest in Spanish art. The great collectors bought fabulous Spanish paintings, but they bought fabulous Italian, Dutch and British pictures too. But no matter; the book's discussion of collecting Spanish art is fascinating.
I especially enjoyed Susan Grace Galassi's chapter on Frick's Spanish art, which tells the story of his pursuit of famous paintings still in the Frick, his pursuit of others that got away, and a couple that were sold from the collection. There are two chapters on collecting of Murillo, but none on El Greco, which is a lamentable lacuna because America's gilded age coincided with El Greco's rehabilitation as one the greatest Spanish artists (albeit Spanish by residence rather than birth). American museums are therefore well endowed with El Grecos. Still, a fascinating book overall with lots of interesting information that was new to me.
Mary-Anne Garry Wealthy Masters - 'provident and kind': The Household at Holkham 1697-1842 Larks Press 2012
I came across this book by chance in a second hand bookshop. It's from a small press, and hasn't had the attention it deserves. Holkham is one of the most wonderful English country houses, and I greatly enjoyed this social history of 'upstairs, downstairs' relationships, drawing on a rich seam of primary sources in the Holkham archives. Mary-Anne Garry describes a process of professionalisation when servants shifted from being regarded as part of the extended family to being seen (and seeing themselves) as professionals with more demarcated duties. She has an eye for good anecdotes. I was especially drawn to the account of travelling between Holkham and London - a couple of hours' drive today, but a major expedition in the eighteenth century. And in a crass instance of Georgian 'bling', Holkham's exterior windows were gilded in 1777, at a cost of a thousand pounds. There's lots more of interest in this fine book - well worth buying.
Peter Hart The Great War Profile Books 2013
Lots of books are coming out for the centenary of World War I. I'm always suspicious of books rushed out for anniversaries, but those I've read so far have been excellent. This one's a corker. Peter Hart is the Oral Historian at the Imperial War Museum, and this narrative history is brought to life with extensive quotations from soldier's letters. He is relatively forgiving of the conduct of Allied military leadership, in line with the tenor of recent scholarship, but against the grain of cultural memory (e.g. Blackadder Goes Forth). This book is intellectually serious, but it's also a great read.
Picture: History Today
Anthony Pagden Enlightenment and why it still matters Oxford University Press 2013
Pagden is one of the most brilliant and learned historians of ideas, and I'd looked forward to this book. It is a highly readable and admirably opinionated book based on a lifetime's scholarship. But it still left me cold. The enlightenment is fated endlessly to be debated, and to be refashioned in the context of current concerns. But Pagden's enlightenment is just too Guardian for my taste - an enlightenment of multiculturalism, secularism and the European Union. I still think it's well worth reading, and the best recent volume on the enlightenment. But it's not enough on its own; you're going to have to read other syntheses and go back to some of the original sources to make sense of it for yourself. If the book provokes you to do that, it's succeeded admirably.
Bernini: Sculpting in Clay
C.D. Dickerson et al Bernini: Sculpting in Clay Yale University Press 2012
This is a superb scholarly study with excellent illustrations and fascinating technical details of Bernini's surviving clay studies. It's one of the best art history books I've read recently, but shame on all involved for publishing it half-finished.
Bernini is the giant of Baroque art, a talented draughtsman and painter, but a genius sculptor and architect. His greatest sculptures are grand dramatic marbles like the great Ecstasy of St Theresa, but he also produced small-scale clay models for many of his commissions, like three dimensional sketches. Bernini ran a busy studio and his assistants learned his techniques. Given the sketchy nature of the clay models, they present particular problems of attribution that are addressed in this book.
Like many of the best art books today this book was written to accompany an exhibition, which was organised by the Metropolitan Museum of Art in New York and traveled to the Kimbell in Fort Worth. The show intended to bring together almost all of Bernini's surviving clay sculptures, but many are in the Hermitage and unfortunately were prevented from travelling because of the current Russian prohibition on loans to the US. These sculptures are particularly fragile, but I'm convinced that there was sufficient scholarly justification for mounting this exhibition to allow comparison of the work as a whole, supported by this serious scholarly catalogue. But there's no justification for showing it at more than one venue, and no justification for going ahead with half an exhibition. A more responsible museum would have postponed the exhibition until the sculptures could all be brought together, but the commercial juggernaut that is the modern museum over-rode scholarly and ethical considerations.
The book remains an impressive achievement, with solid introductory chapters setting out the background and explaining connoisseurial challenges, and catalogue entries justifying individual attributions. The problem is that this is an exhibition catalogue and not a proper catalogue raisonne, because it fails to discuss rejected attributions. A catalogue that fails to consider marginal cases and explain why they are not autograph is only half a catalogue, and the harm done by this omission rises in proportion to the greatness of the book as a whole. It's hard to imagine that a publisher will commission another study of Bernini's bozzetti for a generation, which means that we must accept the diktat of the authorial team about the inauthenticity of the sculptures they don't deign to discuss.
This is an awkward half-way between an exhibition catalogue and a catalogue raisonne. These days the best exhibition catalogues are superb, but the rise of exhibition catalogue publishing seems to be squeezing traditional monographs. In this case it's detrimental to scholarship - I wonder the extent to which exhibition budgets and deadlines militated against proper consideration of rejected attributions. The book is a tremendous achievement and I commend it to you. I just wish they'd finished it properly.
Labels: Bernini, Books, Exhibitions, Kimbell Museum, Metropolitan Museum of Art, Museums, Sculpture
Around the galleries
I don't get to London's commercial art galleries as often as I'd like because they're not generally open at the weekends. But last week was extended opening hours and special shows to coincide with the old master auction viewings,so I went to see about a dozen dealer shows over a couple of days.
Picture: Stephen Ongpin
I particularly liked Stephen Ongpin's show, in a small gallery in Mason's Yard. The Cecco Bravo (above) is a striking drawing by a Florentine baroque artist whose paintings I don't much care for. But this drawing of St Agatha, breasts on a platter, is a beautiful work of art that typifies a certain strain of counter-reformation high drama. It's priced at £42k. He also has a fine and well-preserved drawing by Menzel (£24k, below), another artist that I value more as draughtsman than as painter. It's a rapid study for a lost painting, but it's an effective work of art in its own right, finely worked up in the face.
Menzel is not well represented in British collections. It would be a good acquisition for the National Gallery of Scotland, where it would complement a fine collection of nineteenth century European paintings that they've developed well in recent years. This unusual Interior of Ribe Cathedral, Denmark by Heinrich Hansen would be another good acquisition for them. It's £9k from Crispian Riley-Smith who had a fine display of mostly moderately priced drawings.
Picture: Crispian Riley-Smith
I was taken by this Gandolfi at Noortman (now a Sotheby's subsidiary and not formally part of Master Paintings Week). Oil sketches like this often look better than finished paintings because they weren't finished with the fine glazes that are so often damaged by repeated cleaning. There were more good drawings at Katrin Bellinger's gallery, but I was taken aback by the £20 asked for the catalogue.
Picture: Tomasso Brothers
Tomasso Brothers had some wonderful things, maybe the most concentrated quality I saw on display. The lighting in their gallery is rather low, but they happily lent me a torch - which is anyway a more satisfactory way to examine bronzes, which can't possibly be illuminated from every angle. This superb bronze copy of the colossal Farnese Bull is probably Italian, but could be French. It's certainly excellent.
I'm glad to have such a concentration of art dealers on my doorstep, but I can see why they struggle against the auction houses. Big mark-ups are to be expected, and no one can reasonably object to a dealer making money from works bought well. But some of what's on offer seems awfully expensive. One dealer was asking £1.7m for a Van Dyck that was bought in at Christie's last December with a low estimate of £600k (just under £750k with premium and sales tax). I sometimes had the sense that dealers recognised I wasn't a buyer and responded to my price queries with the highest number they could think of - like Dr Evil in Austin Powers.
There's quite a range of dealers in Mayfair and I saw some extremes of quality. There were some over-restored, over-attributed and over-priced duds. One prominent dealer's stock was conspicuously dusty, another's paintings were crooked and some had typos on the wall text. A well-known dealer was asking over £80k for a picture with a label that mis-transcribed the clearly legible date. Others were excellent, and worked hard to earn their mark-ups. Philip Mould's gallery stood out as the most focused and well-displayed exhibition, centred on Peter Lely, and they had the single best painting - a Van Dyck self-portrait, which is sold. Johnny van Haeften had some fine things, particularly these by Dou and Frans van Mieris the Elder. There were enough galleries getting it right to make it worthwhile, although overall I enjoyed the drawings and sculptures more than the paintings.
Frits Lugt biography reviewed
Picture: Fondation Custodia
J. F. Heijbroek Frits Lugt 1884-1970 Living for Art: A biography Thoth Bussun and Fondation Custodia Paris, 2012
Frits Lugt is my kind of guy - art collector and bibliophile, scholar and grouch. He's known for establishing the standard source on collector's marks, those little ownership stamps on old drawings that each have a Lugt number (Sir Thomas Lawrence's is Lugt 2445, Reynolds's is Lugt 2364). He built a large collection of drawings and prints, particularly Dutch and Flemish, and an unusual selection of mainly Dutch paintings. He also collected old frames, antiquities and Asian art, and he built a magnificent library. A number of his pictures depict books, including the Heem below and a ter Borch Portrait of a Man in His Library. The Fondation Custodia in Paris that he established has published this handsomely produced biography of its benefactor.
Lugt worked for an auction house until he inherited enough money to devote himself to collecting and to freelance scholarship. He catalogued the Dutch and Flemish drawings in the Louvre, and was an assiduous bibliographer of old auction catalogues. He spent the war years in the US, and returned to find those treasures that he'd left behind had been looted. The discussion of Lugt's partial recovery of his collection from thieving collaborators and opportunists after World War II is harrowing. The biography meticulously documents the life and work, but with Lugt I have the sense that the life was the work.
I suspect I'd enjoy harrumphing with Lugt. I don't always altogether agree with him, but his forthright views are often close to mine: "in my view an art historian is not worth much if he's not a connoisseur of art too. It is precisely in this regard that aptitude is of the utmost importance and the University helps the candidate barely at all" (p.318). He had no interest in honourary doctorates, and he was scathing about the corruption of those art historians who issued dodgy 'certificates of authenticity' for a fee. Lugt was cautious about lending his drawings, believing that public institutions lent their greatest treasures too freely, displayed them in light too long and lacked feeling for and understanding of their artistry - there are some juicy quotes about museum philistines, e.g. pp. 348-349.
Lugt's collection of drawings is comprehensive in Dutch and Flemish schools (especially Rembrandt and Rubens), and strong in French drawings, particularly Watteau. His collection of paintings is interesting; he went for more unusual works, like a summer scene by Avercamp, who is noted for his snowy winter landscapes, and a dead frog with flies buzzing around it by Bosschaert the younger, who is better known for versions of his father's pretty flower still lifes. His collection of Italian drawings is less comprehensive, but better than is often realised. There are plenty of first rate drawings, and areas of real strength, such as Guercino. Unfortunately it's all-but inaccessible. You can only 'see' the pictures on a one-hour guided tour, which is of no interest to me - I want to focus on the pictures I'm interested in, not those a guide chooses to point the group towards. It's apparently quite difficult to get access to the drawings, too.
Inspired by this biography I turned to the catalogues of his collection, which give further clues about his character. J. G. van Gelder wrote: "It is difficult for those who had dealings with him, which were not always the smoothest, to find a thoroughly convincing explanation of his character. To many people he appeared cold and impenetrable" (van Gelder 1977: xvi). James Byam-Shaw wrote: "I cannot say that I knew him intimately - I doubt if many people could claim that distinction - for he maintained a 'prestance presque militaire' [and] was decidedly stiff, both in appearance and manner" (Byam-Shaw 1983: xiv).
Picture: Frick
He seems to have been rather austere, but Byam-Shaw qualified his remarks by noting that he got on with Lugt. Judging by his collection he seems to have had a great fondness for nature and for animals - there are disproportionately many drawings of dogs in his collection, for example, including an excellent sheet of studies by Eeckhout (above). But that's a side of his character that's not documented, and probably rightly not speculated upon in the biography.
I question some of Heijbroek's assessments. Biagio d'Antonio's Portrait of a Young Man, which Lugt bought as a Pollaiuolo, is described as "one of the most important Renaissance paintings in the Metropolitan Museum of Art in New York" (p.179), which seems overblown, fine though it is. All financial references are in guilders - even for British and American sales - which makes it difficult for non-Dutch readers to get an appreciation of magnitude. And it was irritating to have to rabbit around in the endnotes to find all sorts of key points that ought to have stayed in the main text. But these are quibbles. It's a fascinating book, well-illustrated and superbly produced. I do hope one day to see the collection for myself.
Byam-Shaw, James (1983) 'Introduction' to The Italian Drawings of the Frits Lugt Collection v.1 Paris: Institut Neerlandais (I've taken the liberty of editing the quotation without distracting ellipses)
J.G. van Gelder (1977) 'Frits Lugt' in Rembrandt and his Century: Dutch drawings of the seventeenth century from the collection of Frits Lugt Institut Neerlandais Paris New York: Morgan Library
Old Master Sales
Good drawings by the most famous draughtsmen made high prices last week, but there's a big gap in the middle market. Neil Jeffares points out on Twitter that the top two lots at Christie's and the top four at Sotheby's make up 43% of their respective sale totals. Some of the most interesting sheets went for relatively low prices.
Christie's Old Master Drawings made £5,473,050. The fine Goya made £1,517,875 and the Watteau £817,875 (above). I thought the Watteau might have done even better. Watteau drawings in his characteristic three-crayon technique in black, red and white chalk are most esteemed. This one is a red chalk study, but it's superb - a great drawing, and a charming subject. The few outstanding Watteaus still in private hands are mainly in French collections, meaning that they could be pre-empted by a French museum or donated in lieu of taxes. This is one of the best still freely available.
The Giovanni Domenico Tiepolo that I tipped made £21,250 - slightly above estimate, but still good value in my opinion. The lovely Danube School landscape made £60k hammer against a £50k-£80k estimate. Christie's reports the price as £73,875 but this lot is additionally subject to 5% sales tax on the hammer price, so the buyer might have paid £79,650 if liable for UK sales tax (5% on hammer price, 20% on premium). Ah, the complexities of auction prices! I was surprised that this Roslin pastel made only £22,500. Not the prettiest face, but a shimmering image. An unsurprising but regrettable failure was the album of Roman views by Pieter van Bloemen that didn't sell, which I was delighted to look through at the viewing. The estimate of £150k-£200k was reasonable for 255 views, but albums are hard to display. It will be a great shame if it's broken up. I wish a museum had stepped up to buy it and ensure it stays together - it would fit nicely in the Getty's collection, given the Getty's strong collection of Roman antiquities. Hope they buy it after the sale.
The Sotheby's sale surprisingly did less well (£4,653,929), despite having a much larger sale with plenty of valuable lots. The headline numbers can be misleading in assessing relative commercial success, because so much depends on the terms achieved on private sales of the lots that didn't reach their reserves. The biggest casualties were the two Goyas, less nice than Christie's's and ambitiously estimated at £1.2m-£1.6m. Their more characteristic Watteau sold for £494,500 - a nice drawing, but it appealed to me less than the one at Christie's. The superb Boucher (above) did better, making £506,500 against an estimate of £150k-£200k. That's a high price for a Boucher, but absolutely deserved for this wonderful drawing. The surprises were that the marvelous Liotard failed to sell against a £350k-£450k estimate that I thought conservative, and that the anonymous drapery study that I admired made only £16k (£20k with premium). It's not the most commercial drawing, but still the bargain of the day.
Some one is seeing something I don't see in this 'Circle of Rubens' (above) that made £193,875 against an estimate of £2k-£4k at Christie's South Kensington. You can zoom in on the excellent Christie's website. It doesn't look like Rubens - in fact, it doesn't even look very good. Maybe I'm missing something. The impasto highlights seem crude and the homogeneous area of thick paint on the cheek isn't like Rubens. Art History News brought the 'Rubens' to my attention, and has great summaries of the paintings sales. Overall I thought there were few surprises in the evening sales. The Willem de Poorter that I thought underestimated made three times its high estimate at Christie's, selling for £217,875 including premium. Sotheby's estimated each of their two pictures by El Greco at £3m-£5m. I wasn't surprised that the better one made £8.1m (£9,154,500 with premium) and the worse made £3m (£3,442,500 with premium). I was surprised that the Rubens at Christie's made only its low estimate of £1.5m hammer (£1,741,875 with premium) - it would have done better if I'd only won the lottery in time.
Museum snobbery
Picture: Museums Association
The Museums Association recently commissioned a poll to find out what people want from museums. I was delighted to discover that the general public wants much the same as I want - in particular, a focus on collections rather than the silly platitudes in some mission statements. Unfortunately the imperious Museums Association believes that it knows better, and has launched a new 'vision' that, funnily enough, reflects closely the original consultation document put together by the Museums Association.
I'm unabashedly in favour of the good kind of elitism, the kind that's based on earned authority and challenges us to rise to the highest standards (Kenneth Clark, I'm thinking of you here). I think it's perfectly reasonable to reject the findings of an opinion poll if you can make a case for giving people something better than what they think they want. But I'm appalled by the chutzpah of this document, which is all about involving audiences - but only, it seems, if you already agree with the Museums Association's 'vision'. The document talks of visitors as 'creators' of knowledge and calls for the facilitation of user-generated content, but on the evidence of this process I don't believe for a moment that they value user-generated content unless it's consistent with their prejudices. Theirs is a dishonest elitism that permits no challenge, hiding behind the spurious authority of rights talk and populism. My kind of elitism is demanding but democratic - anyone can raise a challenge provided they can establish sufficient expertise.
The 'vision' document is utter twaddle. It takes fashionable nostrums about community cohesion and social justice and asserts that museums are perfect instruments for implementing them. It talks of 'building' on museums' established expertise in interpreting objects, but as Tiffany Jenkins points out in this fine critique, in the past decade natural history curators have fallen 35% and art curators have fallen 23% (ironically the source is the Museums Association). It's simply not true that "museums use, understand and care for their collections better than ever before" (p.12). Museums aren't able to perform there core role as well as they used to, and nonsense objectives are being pursued at the expense of their actual purpose.
Parts of the document are moronic but harmless. Take this platitude: "Good museums offer excellent experiences that meet audience needs". Yep, I prefer those to the museums that offer mediocre experiences that no one wants. And museums "improve mental and physical health". Agreed, walking around a museum is better for you than sitting in front of the TV. Great point, Museums Association. Maybe 'excellent' museums will take it further and institute weekend museum racing? Who can get from the Leonardo to the cafe first? Hmm, thinking about it even the harmless bits start to worry me...
Some of the document is downright pernicious. Here's a claim that was decisively rejected in polling: "Social Justice is at the heart of the impact of museums". Social justice is a dreadful term. At one point the document claims that the 'essence' of social justice is that museums should be accessible to all, but if that's all there is to it then it was almost fully achieved in the nineteenth century. I think the point is that the term 'social justice' hints at a much bigger agenda, but it's an inherently contentious agenda. Is social justice served by equality of opportunity or of outcome? Is it served by low taxes that allow people to benefit from the fruits of their labour, or high taxes that facilitate redistribution? Is it served by permitting abortion to enable social justice for women, or prohibiting it to enable social justice for unborn children? This blog isn't the place to debate any of these contentious issues, and neither is a museum. The idea that there is some uncontested notion of social justice that should be at the heart of the impact of museums is dangerously naive, and if they think it'll help the case for government funding then they're fools.
Vacuous statements about changing lives and 'maximising social impact' are pointless at best, but in the current environment of reduced funding they are a dangerous distraction from museums doing the things that we really value - collecting, preserving and displaying objects that are culturally, historically or scientifically meaningful.
Old Master Drawing bargains
Picture: Sotherby's
The Old Master Drawings sales at Sotheby's and Christie's have some fabulous treasures. Each sale has top lots by Goya, Watteau and Fragonard, and some outstanding pastels (Liotard at Sotheby's, Roslin at Christie's - on which, see Neil Jeffares' excellent commentary). There are also some lesser works that offer exceptionally good value.
I was struck by the excellent anonymous drapery study, above, at Sotheby's. It has so skilfully captured the solid form under the drapery, particularly in that right leg. Sotheby's thinks the figure is stepping to the right, but I agree with Wethey that he's climbing a stair (maybe ascending an altar). It's estimated at just £18k-£22k. The great scholar Philip Pouncey accepted the traditional attribution to Titian, whereas Wethey listed it as seventeenth century in his classic study of Titian's drawings, although the Sotheby's catalogue note doesn't mention that Wethey hadn't seen the original. I don't think either is correct. It can't be Baroque. I can see the attraction of attributing to Titian, partly by eliminating other artists of sufficient stature to have produced this masterful study (certainly not Tintoretto, for example). Sotheby's suggests the Bassano school, which is reasonable but I don't think it's by Jacopo and I know of no other artist in his entourage capable of anything this good. Whoever it's by - and I doubt attribution will ever satisfactorily be resolved - it's a fine work of art for a very reasonable estimate.
There are no attribution issues with the next bargain - it's certainly by one of the greatest draughtsman of them all, Giovanni Domenico Tiepolo and it comes from one of a number of well-known albums of his drawings. It's estimated at £10k-£15k. He was quite prolific and his drawings come up for sale quite often, which keeps prices down. This is a fine and very pleasing example of his art, a life-enhancing thing to misappropriate a term of Berenson's that he'd never use for anything so decadent.
The drapery study is from the collection of Denys Sutton, former editor of Apollo, who owned a number of other good mid-range lots at the Sotheby's sale including a Gaspard Dughet Landscape and this Jacques-Louis David view of Rome. If you buy the David, please leave it to the British Museum in your will - he is woefully under-represented there, especially in contrast with earlier French artists like Watteau.
One other thing I wanted to share was this wonderful bronze Head of Bacchus from Riccio's studio, less than three inches high. It's a tiny wonderful thing that I'd love to have on the bookshelf above the desk where I'm writing this, to look approvingly at the wine I'm drinking. It's with Christie's estimated at £20k-£30k.
Old Master Painting sales
I've enjoyed a couple of days viewing the big old master sales at Sotheby's and Christie's, together with exhibitions at many of London's art dealers. Sotheby's has two pictures by El Greco, each estimated at £3m-£5m. The St Dominic above is superb. The catalogue note follows Wethey in giving partial responsibility to El Greco's studio, which is normal for his late works. Wethey says that "the technique of the picture is that of the workshop, but the quality suggests that the master retouched it" (Harold Wethey El Greco and his school Princeton University Press, v.2 p.113 - not quoted in the catalogue). I think he's referring to the way that the different parts of the picture have been built up separately, with red ground showing through as outlines between forms, especially around the figure. But it is rather thinly painted, so I find it hard to believe that he would have gone over areas painted by a studio hand. And lots of subtle touches reveal the hand of the master - the expressive flecks of red paint in the fingers and the impressive brooding sky. I think Wethey is rather harsh; it strikes me that this is a substantially autograph picture.
El Greco's style is readily recongnised, but he ran a large studio churning out variants of his successful compositions. Sotheby's other El Greco is a Crucifixion - an imposing picture on a scale rarely seen on the market. But its quality is obviously weaker, partly because it's quite abraded. Just compare the sky between the two pictures. A lot of El Grecos have rather schematic skies like this one, far removed from the subtlety of the St Dominic. Although it suffers from comparison with St Dominic, it's still an impressive picture. I'd love to see it go to the Meadows Museum in Dallas, where it would look fabulous in the large central room with earlier Spanish altarpieces, showing the revolutionary impact that El Greco had on Spanish art.
I'd never even heard of Paulin-Jean-Baptiste Guerin, a nineteenth century French painter admired by Ingres and Gericault, but this Self Portrait impressed me. It's estimated at £100k-£150k, presumably reflecting Guerin's relative obscurity. That seems good value for such quality.
I've written previously about the Christie's highlights, so here are the lowlights. This Christ and the Woman taken in Adultery by Willem de Poorter looks superb behind rather discoloured varnish. Follow the link and use the zoom function to focus in on the wonderful Rembrandt/Lievens details of the figures on the right. The estimate of £40k - £60k seems absurdly low to me. It lacks the immediate charm of more expensive Dutch pictures, and the architecture rather overwhelms the figures, but the parts that are good are very very good.
I also liked this small Rembrandt school Head of a Bearded Man, and for something completely different this large dog picture by Agasse stole my heart:
The estimate of £400k-£600k reflects its charm as much as its artistic interest, but it won me over. The top dog looking out at us wears his authority so convincingly.
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Home Entertainment Let's Take a Loot at Kim Sae-ron's Transformation Since Her Debut Till...
Let's Take a Loot at Kim Sae-ron's Transformation Since Her Debut Till Now
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Details About Kim Sae-ron's Transformation and Her Latest News
In this article, Channel Korea will explain everything about Kim Sae-ron's transformation from her debut as an actress until now. Kim Sae-ron is an actress from South Korea that debuted in 2009. She began her career when she was nine years old and became a popular child star. As Kim Sae-ron reached her teenage years, she was cast in more leading roles, notably in the film A Girl at My Door (2014) and her name became so popular since staring in the drama Hi! School-Love On (2014) with INFINITE's Woohyun and Sungyeol. Her first adult leading role was in the television drama Mirror of the Witch (2016).
Kim Sae-ron was born on July 31st, 2000. She also has two younger sisters who are also actresses, Ah Ron and Ye Ron. Kim Sae-ron attended Miyang Elementary School in Seoul, and graduated from Yang-il Middle School in Ilsan in February 2016. She then started attending the School of Performing Arts in Seoul. In 2018, Kim was admitted to Chung-Ang University, the Department of Performing Arts and Film Studies. Now, want to know more about Kim Sae-ron's transformation? Check this out!
Kim Sae-ron's Childhood Photos
https://www.koreaboo.com
This is a picture of Kim Sae-ron as a child while starring in her first film, titled A Brand New Life in 2009. Kim Sae-ron played the main character, a nine-year-old girl named Jin Hee, who is abandoned by her father at an orphanage after he remarries, and is later adopted by a French couple. Kim Sae-ron attended the Cannes Film Festival when the film was shown there as a special screening, becoming the youngest actress to be invited to the festival.
https://star.koreandrama.org
This is a picture of Kim Sae-ron starring in her first drama in 2011, titled Listen to My Heart. She appeared in the first four episodes, and her performance was praised by TV critics.
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Doesn't Kim Sae-ron look adorable and pretty in Christmas clothes? In 2010, when she was nine years old, Kim Sae-ron won several awards for her first two roles, including Best New Actress at the Korean Film Awards and Buil Film Awards.
https://www.hancinema.net
Besides having an adorable face, Kim Sae-ron also has a body shape that is quite tall and thin. Kim Sae-ron's manager said she had, "a great eye for good scripts which made it possible for her to choose her own projects at a very young age." Kim Sae-ron also stated that she never had difficulty accepting difficult roles and was able to slowly immerse herself in the characters.
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Kim Sae-ron did have a very unique and adorable face. In addition, coupled with her talented acting skills since childhood, Kim Sae-ron's name is widely known by the public. She also was nominated for many awards, winning Best New Actress at the 35th Blue Dragon Film Awards and Golden Cinematography Awards, and winning the Best Young Actress Award at the2013 MBC Drama Awards. First, she debuted as an actress under Fantagio, but since 2016 she has signed a contract with YG Entertainment.
Kim Sae-ron's Debut as a Child Actress
https://www.wowkeren.com
Kim Sae-ron debuted as an actress when she was just nine years old. At that time, she starred in her first film titled A Brand New Life in 2009. Kim Sae-ron played the role of Jin Hee and since starring in the film, Kim Sae-ron's acting ability deserves great praise. Although only nine years old, but she already had a very good acting ability and could follow the procedures given. Jin Hee, the character she played is a child waiting to be adopted.
Successfully starring in her first film, Kim Sae-ron starred in her first drama in 2011 titled Can You Hear My Heart. Kim Sae-ron played the younger version of Bong Woo-ri and only appeared in four episodes. Then, the name Kim Sae-ron became more popular after she starred in one of the quite popular dramas in 2014, Hi! School Love On. In the drama, Kim Sae-ron played Lee Seul-bi and acted together with INFINITE's Woohyun and Seungyeol.
The drama successfully made Kim Sae-ron increasingly popular and obtain many fans at the age of 14. Kim Sae-ron played the role of a high school student going through love and maturity as an angel becomes a human to save a male high school student.
The last drama she starred in was Secret Healer in 2016 and Kim Sae-ron played Seo Ri. Seo Ri is a princess who has become a witch. This drama is quite popular and many people who appreciate Kim Sae-ron's acting skills are excited to see her on the small screens. Then, the last film she starred in was 2018 with the title Ordinary People. In the film, Kim Sae-ron plays Kang Yoo-jin. This film is also a film that is quite popular because it stars famous actresses and actors such as, Ma Dong-seok, Lee Sang-yeob, and Oh Hee-joon.
Acting Alongside Won Bin in The Man From Nowhere
http://seoulrhythms.com
After the success of her first film in 2009, in 2010 Kim Sae-ron again starred in a film together with Won Bin titled The Man From Nowhere. In the film The Man From Nowhere, Kim Sae-ron plays Jung So-mi and Won Bin plays Cha Tae-sik. The film also made the name Kim Sae-ron increasingly popular and is known by many people because of her excellent acting skills, even at the age of ten.
Kim Sae-ron also recounted the process of her election in the film. "Actually Won Bin ajusshi and I are not the people who should have been chosen for the film," she said. "Actually, there was another young actress who should have gotten the role but she resigned because she had to film a TV series. The audition process was very difficult and only that child actress got the role but fortunately, then I was able to join the cast of The Man From Nowhere."
She then revealed that she started crying after successfully getting the role. "I finally joined The Man From Nowhere and I remember that time crying continuously," she admitted. "I've been playing supporting roles for a long time. I was very happy because I finally felt an exciting acting experience after the main role in the film A Brand New Life," she said.
The Reason Why 4Minute Decided to Disband
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Channel-Korea is your Korean news, entertainment, music & fashion website. We provide you with the latest Korean news.
BTS Member's Profile (Age, Birthdays, Religion, Height and Facts)
Full Profile of BLACKPINK Members (Age, Waist Size, Roles, Height, and...
Before and After Blackpink Member's Plastic Surgery
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text:
Q: Trouble producing cobertura coverage My code contains tests and those tests run fine upon mvn clean install
I have included a cobertura prlugin in order to produce the reports as
            <plugin>
                <groupId>org.codehaus.mojo</groupId>
                <artifactId>cobertura-maven-plugin</artifactId>
                <version>2.5.1</version>
                <configuration>
                    <formats>
                        <format>xml</format>
                        <format>html</format>
                    </formats>
                    <check/>
                </configuration>
                <executions>
                    <execution>
                        <phase>clean</phase>
                        <goals>
                            <goal>cobertura</goal>
                        </goals>
                    </execution>
                </executions>
            </plugin>

At the end, HTML is produced in the target as expected. index.html shows all classes and packages but ... no coverage information (0% coverage for all)
If i export coverage via IntelliJ it shows coverage appropriately. Is my setup missing something obvious?
Please help me understand.

A: It looks like the problem is that you're trying to execute cobertura in the clean phase of the project.
According to the documentation, Cobertura uses its own lifecycle: http://mojo.codehaus.org/cobertura-maven-plugin/cobertura-mojo.html
Please remove the <phase>clean</phase> from your execution configuration and try again.
Further references here:

*

*How do I configure when cobertura tests run in maven-cobertura-plugin?

*http://mojo.codehaus.org/cobertura-maven-plugin/usage.html


text:
Q: Train model python I'm trying to train my model with csv data .
My code is bellow
dataset =pd.read_csv ('C:/Users/21622/AOI/data.csv', decimal=",")
z = dataset.iloc[:,0:3].values
RESULTS_FOLDER='C:/random forest'
model_path = os.path.join(RESULTS_FOLDER, 'modele rf1.pkl')
model = joblib.load(model_path)
predrf1 = model.predict(z)

I get this error
ValueError: could not convert string to float: 'VV'

here some line of my data
VV,VH,NDVI
-17.037088,0,-0.56723714
-17.711533,0,-0.5815085
-20.695002,0,-0.58773005
-24.291254,-26.477612,-0.55279505
-18.98536,-22.503922,-0.58133674
-16.514977,-23.752464,-0.5769231
-17.365822,-30.861477,-0.5322377
-18.320848,-33.36731,-0.54140127
-18.19453,-35.388615,-0.53240156
-20.024414,-35.38232,-0.5320262
-24.593035,-29.195107,-0.49866664

Any help please!

A: Remove the decimal=",". It is for when in some countries like Germany that use 0,001 instead of 0.001. But in your case the decimal is already the standard "." and the delimiter is also the standard ",". Just use
dataset = pd.read_csv ('C:/Users/21622/AOI/data.csv')

A: Your first line is your header VV, VH, NDVI which is the main reason of error.
Your error lies in this line:
z = dataset.iloc[:,0:3].values

Here you are taking the first row also. So change this line to something like this:
z = dataset.iloc[1:,0:3].values


When it comes to building a deck, there is a wide choice of materials to build it with. Maybe you will ask what's best decking material? You can pick from wood or wood plastic composite materials. Each one has its advantages and disadvantages. But we think the best decking material is wood plastic composite decking. It's durability and low maintenance is important than a wood plastic composite material would be the best choice.
WOOD PLASTIC COMPOSITE decking has become very popular with many styles and colors available. They cost more than wood decks initially but over time their durability and lack of maintenance make them a good value.Wood plastic composite decking can be made to look like several species of wood and has many styles of handrails available. Choosing the best decking material for your deck comes down to what is available in your area and the color and style you like best.


text:
Novel Pyridazinone Inhibitors for Vascular Adhesion Protein-1 (VAP-1)
Communicating stations called difference junctions are believed to try out a
Communicating stations called difference junctions are believed to try out a ubiquitous component in cell advancement and development. 0.40 mm in individual and 0.49 mm in mice marrow. There have been at least doubly many difference junctions in the femoral midshaft of 6-week-old mice (1.75 x 10(5)/mm3) such as those over the age of 12 weeks (0.89 x 10(5)/mm3). Many Cx43 was connected with collagen III+ endosteal and adventitial stromal cells and with megakaryocytes. Somewhere else, these were few and distributed between all sorts of hematopoietic cells randomly. In the femoral epiphysis of juvenile mice, stromal cell procedures filled with Cx43 enmeshed three to six levels of hematopoietic cells close to the endosteum. The same design was observed in the midshaft of regenerating mouse marrow three to five 5 times after cytotoxic treatment with 5-fluorouracil. Useful tests in civilizations showed the transfer MDV3100 distributor of small fluorescent dyes, Lucifer Yellow and 2′,7′-bis-(2-carboxyethyl)-5, 6-carboxyfluorescein, between stromal cells and in rare cases between stromal and hematopoietic cells too. The stromal cells were densely packed with Cx43 and we found aggregates of connexon particles in their membrane replicas. In normocellular human being bone marrow, space junctions were as rare as with adult mouse and similarly distributed, except that they were also on adipocytic membranes. In a few leukemic samples, characterized by an increased stromal/hematopoietic cell percentage, there were two- to fourfold more Cx43 (2.8 x 10(5) to 3.9 x 10(5)/mm3) than in the normal (1.0 x 10(5) to 1 1.2 x 10(5)/mm3). The instances included a hypoplastic acute lymphoblastic leukemia, an acute Ornipressin Acetate myeloid leukemia (French-American-British classification M4-5), a case of myelodysplastic syndrome with elevated quantity of megakaryocytes, and a CD34+ acute hemoblastosis, probably acute myeloid leukemia (French-American-British classification M7). Taken together, our results show that direct cell-cell communication may be involved in hematopoiesis, ie, in developmentally active epiphyseal bone marrow and when there is a demand for progenitors in regeneration. However, space junctions may not play as important a role in resting adult hematopoiesis and in leukemias. Full text Full text is obtainable being a scanned duplicate of the initial print version. Get yourself a printable duplicate (PDF document) of the entire content (4.5M), or select a page MDV3100 distributor picture below to browse web page by page. Links to PubMed are for sale to Selected Personal references also.? 993 994 995 996 997 998 999 1000 1001 1002 1003 1004 ? Pictures MDV3100 distributor in this specific article Amount 2 br / on p.997 Figure 3 br / on MDV3100 distributor p.998 Amount 4 br / on p.999 Figure 5 br / on p.999 Figure 6 br / on p.1000 Figure 7 br / on p.1001 Figure 8 br / on p.1001 Figure 10 MDV3100 distributor br / on p.1002 Go through the picture to visit a bigger version. Selected.


Special offer based on traveling in March and April 2019. Please contact Ace Travel for alternative travel dates and specials.
The River Shannon gives central Ireland it's unique character. It's an obvious feature if you study a Shannon River map. At a glance, it's clear that the waters influence the land. The fishing is superb and golf is extremely popular! As you travel, you'll stop in quaint villages, why not explore the medieval churches and kick back in the pubs!
7 nights accommodation – A great choice for larger parties, this canal boat hire features a large saloon and flexible sleeping options with single and double beds in the three cabins. Up forward you'll find a fourth small cabin and bed for a young child. With its easy access to the sidedecks and sundeck, the Shannon Star boat hire offers an excellent layout.


A cargo lighter carrying 775 metric tons of coal has sunk in Pasur River in the the Sundarbans, riling up environmentalists again about possible ecological degradation. Save the Sundarbans Foundation Chairman Sheikh Faridul said: "This will severely harm the marine life and biodiversity of the Sundarbans. The coal is usually used in brick kilns and contains high amounts of sulfur, which can greatly damage the forest environment. "Due to lack of management, incidents like these keep repeating. When a ship sinks the fuel from the ship spills onto the water body and can cause serious detrimental effects to the environment," he added. "When Rampal power plant is functional, cargos carrying coal will pass through Sundarban every day. Accidents like these will become a normal occurrence. Hence, government should halt all power plant related works as soon as possible for Sundarban's protection," Faridul said.
He also said how Unesco had proposed last year that the government present a strategic environmental survey before undertaking any ambitious venture, but they are yet to present it. Regarding this, Professor of Environmental Science Department, Dr Dilip Kumar said: "Coal contains sulfur which reduces the pH of water, making it acidic.
"If accidents like these keep happening, the environment will be at stake. So we need to be very cautious. An alternate path needs to be devised to channel the vessels carrying coal," he added. The coal carrier sinking marks the sixth such accident, threatening gradual environmental catastrophe over the last three-and-a-half years.


Exellent campground with very clean toilets and showers. Exceptional friendly staff and well maintained sites and amenities. We will stay here again. We camped at Douglas KOA in a Motorhome.
The staff is very unfriendly and rude. The toilets and showers wasn´t cleaned and the trashcans were overfilled with paper and woman sanitary. We won´t stay here again. The KOA in Douglas is much much better!!! We camped at Casper KOA in a Motorhome.


Get your US Navy Snipes Lava Coffee Mug today with exciting and original US Navy designs!
The US Navy Snipes Lava Coffee Mug that comes with exciting effects as hot water is added the US Navy art changes on your Navy Lava Mug. Original US Navy artwork displayed on your mug. Designed for active duty US Navy Sailors, US Navy Veterans and Prior Service.
Changes color when you pour in hot contents!


6 relations: L7, MG 7, Soyuz 7K-L1, Sun d'Or, Volkswagen Touareg, 7L & Esoteric.
L7 or L-7 may refer to.
The MG7 is a mid-size sports saloon that was built by Chinese carmaker MG Motor, derived from the British cars, Rover 75 and MG ZT.
The Soyuz 7K-L1 "Zond" spacecraft was designed to launch men from the Earth to circle the Moon without going into lunar orbit in the context of the Soviet manned moon-flyby program in the Moon race.
The Volkswagen Touareg (German pronunciation) is a mid-size luxury crossover SUV produced by German automaker Volkswagen since 2002 at the Volkswagen Bratislava Plant.
7L & Esoteric (7LES) are an underground hip-hop duo from Boston, Massachusetts, known for battle rhymes and boom bap production.
7-L, 7-l, 7L (disambiguation), 7l.


text:
Company, Business
Why Use Business Analytics: Cases and Examples
by Oleksandr Moshenskiy
Find out how valuable business analysts are and how they can save your money.
No business that is focused on success and profitability can exist in a vacuum. Whether it is a service or a product, it is created to satisfy the need of a client. If a business forgets its main task, it is reflected in all business processes. Both on the financial, functional, and also on the reputational side. Business analytics helps understand whether particular customer pain points were satisfied.
Business Analysis Purposes and Methods
According to the BABOK Guide, business analysis is a set of techniques used to understand how a company is performing, whether it is fit for its original purpose, to identify the capabilities that an organization needs to deliver products and services.
A business analyst is a person who analyzes the needs and problems of a business, consults with clients to find opportunities to improve business value. They also set, manage, and monitor specified requirements in business processes. The specialist can find out the need to launch MVP or measure the last KPI according to a client's needs. You could say that a business analyst is like a full-stack web developer, as they start from the smallest problem to find the way out to the successful solution.
The tasks of business analysts can be divided into two areas:
Analysis of history in order to find patterns, identify the reasons for the formation of history in a given form, as well as forecast future;
Analysis of processes for the purpose of their subsequent automation.
Important terms for business analysis are:
Enterprise architecture — describes the organization's business processes, software and hardware, people, operations, and projects, and the interactions between them.
Requirements verification — the work undertaken to determine that the named requirements are defined correctly and with an acceptable level of quality. This ensures that the requirements are fully identified and structured to be used by the development team during the design, development, and implementation of the solution.
Change-driven methodology — a methodology that focuses on rapidly developing a solution in an incremental manner and directly involving stakeholders to get feedback on solution performance. Agile is a vivid example of a change-driven methodology. The client makes small requests, and the developers immediately implement them. There is a quick result, and it can be verified at once to check whether the customer's wishes were understood correctly. In Agile projects, the task of business analysts is to perform the same business analysis activities, but within short iterations, in small portions. Also, the work of a business analyst in a company can be built according to the Scrum method: it helps to work together in a team. Each sprint takes 10-12 days and ends with the presentation of a new block to the customer. If there are controversial points, they are resolved in the process.
SWOT analysis — an acronym for Strengths, Weaknesses, Opportunities and Threats. The model is used to understand the enablers and how they can affect the initiative.
A business analyst is a specialist who must turn an abstract idea into a list of specific tasks. To do this, they ask company management some of the questions:
What business problem needs to be solved?
Who are the end-users of this application/product/service?
What has been done previously to solve this problem?
Why is it worth automating the process?
Identifying a problem can be compared to links in a chain: if a single one is missed, the structure loses its integrity. Business analysis reveals which link is missing, which is why different company processes do not work as expected, and how to improve the quality of any particular link.
Example of Business Analytics Implementation
A good illustration of how business analytics can determine the future of a company is the Ford case. In 2008, the company reported $4.6 billion of losses. A director of operational analytics and risk management at Ford noted that the crisis, new management, and new perspectives have prompted them to look at things differently.
Then a dedicated team of 200 analytics experts was hired, and after a year, the company reported profit, which had not happened in the previous four years. Ford launched 25 new vehicle lines and sold 2.3 million cars and trucks in the United States.
Find out how we can help make your idea a reality
Example of IT Business Analytics Implementation
As a successful case, let us cite the story of Luxoft, whose business analysts worked on a project for a large bank. The goal was to actively refine and develop new product solutions and integrations. They had to reverse-engineer one large system that was used by the customer and design the transfer of functionality to the new one. The difficulty was in the lack of documentation, closed code, and access to view the interface only through an employee.
All streams of input-output data and sets of attributes could be identified from the documentation of related integrated solutions, but the system itself remained a black box. By the sets of attributes, it was possible to identify its main objects.
The gaps of data streams have been used to fill in the gaps of what is happening within the system during data processing. Where there was no information, or an ambiguity, they sent test requests from external systems and looked at the results at the output.
It is very important to outline a plan and decomposition of how to solve this problem before starting work. The analyst has thought in advance in what sequence to investigate the integrations and functional blocks, using Scrum methodology.
An IT business analyst collects the customer's requirements and draws up a technical task for the development team, proposes a solution to the customer's problem. If you order IT services from Triare, you can be sure that your company receives not just a code but a business solution.
We accompany the requirements collection with the justification analysis for each item, physical possibilities for their implementation, as well as risks, and ways to minimize both risks and their consequences. To implement it effectively, we concentrate on the primary goal, the expectations, and the possibilities to realize these expectations.
More posts by this author
Oleksandr Moshenskiy
Head of PM Department at Triare
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How We Helped a German Startup GovRadar through the Founder Institute Program: Case Study
Back in December, we announced our partnership with the Founder Institute (FI). It is one of the biggest pre-seed startup acceleration programs in the world, with a portfolio of over 4,300 startups.
Notifications only about new projects and company news (~1-2 emails/month). You can always unsubscribe.


text:
From Chinese Media
Subway to force relocation of 300 trees
Twitter Facebook Myspace Yahoo! Linkedin Mixx
A proposal to make way for subway construction in Nanjing, the capital of East China's Jiangsu province, calls for 303 trees to be removed and replanted, jschina.com.cn reported Thursday.
Under the plan, which was formed by a city government special working group, the City Government station of the Line 3 subway will be constructed in a park. That would inevitably force some trees in the park to be transplanted.
The proposed park location won the plurality of votes over four other proposals. The plan will be submitted to the city government for discussion.
If approved, the trees will be temporarily moved to the Xuanwu district. However, for the affected metasequoia, Chinese white poplar and cedar trees, the move could be ill-timed. It is the middle of the trees' growing season. The survival of the trees could not be guaranteed.
Officials assigned numbers to the trees and carried out measurements. That will ensure the trees are planted with their roots facing the same direction in their new locations.
The panel of voters included eight civilian representatives of environmental evaluation who expressed their understanding and acceptance of the plan.
China-US Governors Forum
The first China-US Governors Forum is held July 15 in the Salt Lake City, the United States.
My China story
Foreign readers are invited to share your China stories.
Rare earths export quota
China kept its export quota at almost the same level as last year.
Watchdog deems oil leak in bay a 'disaster'
Power failure delays 29 bullet trains
Economic growth eases amid tightening


text:
Racing Roundup | Rahal wins at Texas
Connor Casey
For the first time since the 2015 Honda Indy 200, Graham Rahal found himself back in the winner's circle on Sunday.
The Ohio-born IndyCar driver passed James Hinchcliffe on the final turn of the final lap to win the Firestone 600 at the Texas Motor Speedway. His margin of victory was 0.0080 seconds, the closest finish in Texas Motor Speedway history and fifth-closest in the history of IndyCar.
"I'll be honest, what motivated me the most was this team deserves it," Rahal said in the press conference after the race. "We have had our backs up against the wall this year. We've been just inside the top 10, but nothing has come easy for us, nothing. You look at our performance last weekend (at the ABC Supply 500), we had zero straight line speed, couldn't figure it out all week, couldn't figure it out at the test. Just frustrated. Guys kept heads down, kept working hard, and this is going to lift their spirits a lot, and hopefully we can go into Watkins and have a good run. I didn't want to go through this year without a win, and on that last yellow, I was telling myself this could be my chance, you'd better get it done, and we're just lucky it all worked out."
The win puts Rahal at seventh place in the Verizon IndyCar Series standings. There are only two races left in the 2016 series: The Grand Prix at the Glen (Watkins Glen) on Sept. 4 and the GoPro Grand Prix of Sonoma on Sept. 18.
Mid-Ohio preps for 2017
The Mid-Ohio Sports Car Course made two announcements over the last week. The first came on Aug. 25, confirming that the Honda Indy 200 would return as part of the Verizon IndyCar Series on July 28-30, 2017.
This was followed up Monday by the track confirming the 2017 AMA Vintage Motorcycle Days will be July 7-9 at the track.
Track president Craig Rust announced in the same press release that the American Motorcyclist Association and Mid-Ohio track officials had agreed to a multi-year deal, meaning the Motorcycle Days will be back at the track every summer over the next few years.
"We could not be happier to not only announce our 2017 date this early, but to also confirm a multi-year agreement with the premier motorcycle association in the country," Rust said in the press release. "Our partnership with the American Motorcyclist Association and AMA Vintage Motorcycle Days continues to grow and is one of the fan favorites on our schedule each year."
More changes for Spitzer
Spitzer Motor Speedway officials made two announcements on the track's Facebook page on Tuesday.
The first is that the bull riding scheduled for this weekend has been canceled. The second was that the compact series championship on Sept. 11 will be the final race of the season.
The Winner's Cirlce
• The NAPA Wayne County Speedway held its season championship on Saturday. Feature winners included Jordan Ryan (Sprints), Doug Drown (Super Late Models), Gary Hensel Jr., (Super Stocks), Jamie Wrightsman (Rush Late Models), Billy Parsons (Mini Stocks) and Brandon Gardner (Carts).
• A day before Wayne County wrapped up its season, Attica Raceway park held its own season championships. The winners included Stuart Brubaker (410 Sprints), Jamie Miller (305 Sprints), Doug Drown (Late Models) and Shawn Valenti (Dirt Trucks).
ccasey@gannett.com
Twitter: @ConnorCasey_MNJ


Brazilian elodea is a common aquarium plant that invaded Griffy Lake in the past. Officials can't say for sure, but there was significant evidence that the Brazilian elodea was introduced after aquariums were dumped into the lake.
Invasive plant species such as the Brazilian elodea can affect the lake environment and make boating and fishing more difficult for visitors to the lake. The plant tends to clog boat motors.
While the elodea is gone now, natural resource manager at Griffy Lake want to prevent aquarium dumps and reintroducing elodea and other aquatic invasive species into the lake.
Agreement Signed in Fight Against Giant Salvinia - Giant salvinia is a growing problem that affects area waterways, including the Red River. It is one of the most invasive aquatic plants that dominate water bodies by overgrowing and replacing native plants that provide food and habitat for animals and waterfowl.


text:
//
// Copyright (c) Microsoft Corporation.    All rights reserved.
//

namespace Microsoft.CortexM4OnCMSISCore
{

    using RT      = Microsoft.Zelig.Runtime;
    using Chipset = Microsoft.CortexM3OnCMSISCore;

    public abstract class Device : Chipset.Device
    {
    }
}

redpajama_set_name: RedPajamaGithub


I am just another Freak in the Freakdom. This blog thingie is just very addictive I must say. And while I am saying, I really am digging on that band The 69Eyes. Yep Yep! So as you can tell so far, I am not out to change the world with any kind of superhero advice or the like. Just feel the need to babble sometimes for no real reason. Maybe share some of my misadventures along the way.
This entry was posted on July 21, 2006 at 11:16 pm and is filed under Uncategorized.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


text:
Chelsea fans reminisce over Ashley Cole's Blues career
Date: 29th October 2019 at 5:30am
Chelsea fans piled on to Twitter on Sunday evening to reminisce over the career of former left-back, Ashley Cole.
Following a tweet posted to the Blues' official account where Cole was pictured at an American football match in Texas, fans of Chelsea filled the comments section with their feelings over the former Chelsea defender.
Across the replies fans labelled Cole a legend and went as far as to exclaim that the 38-year-old had been the best ever English left-back.
The GOAT LB ??
— Billy Gilmour (@BillyGilmourSZN) October 27, 2019
The best ever English left back by a mile.
— Sel Boy (@BoySelboy) October 27, 2019
— James (@1JamesChelsea) October 27, 2019
Best LB ever
— CJ (@bigfancj) October 27, 2019
Cole joined Chelsea from Arsenal in 2006 for a fee of £6.7 million (as per Transfermarkt) and went on to have an eight-year stay at Stamford Bridge.
The Englishman starred in 338 appearances for the Blues, scoring seven and assisting 38 over that period (per Transfermarkt).
Most notably in his time with Chelsea, the Blues secured the Champions League in 2010 against Bayern Munich with Cole at left-back and while some felt the club had not yet replaced his talent, others looked back with fond memories.
Ashley Cole AC3, Once A Blue, Always A Blue, Forever A Blue
— Chelsea Till Satan Repents? (@assahfalcao) October 27, 2019
Still haven't replaced him.
— TLV (@TheLampardView) October 27, 2019
The penalty against Bayern
— @Albanus 10?? (@Albanus_10) October 27, 2019
With such an impressive record behind the former Chelsea defender (Transfermarkt), it is difficult not to consider Cole a Blues legend.
Although the ending to his career was not as glamorous as his time at Stamford Bridge, with the 28-year-old having hung up his boots and returned to Chelsea as a youth team coach – Cole can look back on what was a fantastic career.


Well-maintained Santa Fe Style Sombra home in the Rincon Trails Community. Features new homes rarely have: exclusive .37ac view lot on cul-de-sac backs to common area. Ktchn updtd in 2014 w/granite counters, cstm backsplash, SS appl-gas range, new dual sinks & fixtures. Mature bkyrd w/Pebble-Tec saltwater pool w/lagoon entry (blt-2014) & lighted stone water feature - viewable from kitchen. Ext 3-car garage w/finished flr & overhead storage racks, double-wide side gate. Additionally, high ceilings & open flrpln make the living rm & kitchen come alive w/natural light. Plank flooring in high use areas. Soft water syst. Split bdrm flrpln. Lrg mstr bdrm; bath w/soaking tub & shower; huge walk-in mstr closet. Other 2 bdrms & den are spacious w/lights & fans. Highly desired Vail School District!