text:
5/8 – The best flying times
NB: every flight mentioned in this article is downloadable on our site as well as on Netcoupe with report of flight. http://www.netcoupe.net/Main.aspx
Whereas the main weather novelty of the past year was the abnormally south position of the anticyclone of the Pacific, whose centre was practically at the latitude of Bariloche, the novelty of the spring 2008 was that, in addition to maintaining the previous anomaly, the low pressure normally centred on the Atlantic to our latitude has been replaced by an high pressure that didn't evolve practically during the whole season. According to my expert in meteorology, the likelier reason would be an increase of the surface temperature of the waters of the Atlantic between the 30th and the 40th°S latitude, what hardly convinces me because in Mediterranean this reason produces an opposite effect. No matter, this situation of blockage, sometimes even accentuated by an anticyclone on the continent, disturbed the regular circulation of the polar fronts that turned regularly. What didn't prevent the formation of the cold fronts between these two anticyclones, creating a fast circulation with pause intervals of some days.
The fig. C1, TEMSI map of December 15 to the morning, represent the typical situation of the pressure centres and fronts (Bariloche is 41° latitude and 70° longitude, the local hour is UTC -3 whereas Europe is UTC + 1). It is difficult to imagine that with such a situation one can have, as we lived, 180 km/h of wind at 7.000 m!
The fig. interprets the photo satellite and puts well in evidence the presence of a jet stream south of our position in an anticyclonic flow. Useless to hide my concern when, arrived at km 230, my good old Zander indicates me 177 km/h of wind of which 150 km/h headwind component to the way home!
It is already 17h30 and the U turn seems me the most reasonable solution considering the uncertainties because I never flew with such a wind, my wind speed McCready ring compensation tables stops at 120 km/h headwind, and for this value it would be necessary already to fly with Mc +5 with a residual L/D of about 10. The return is going to be sporty! The discovery of the day will be that with such a wind the wave seems laminated and the Vz are rather weak, between 0,5 and 1m/s (at 170 km/h in stationary flight). Of the same way the wave length is enormous and it is necessary to fly in the plain, 34 km away from the usual track of the first rebound, very far away. The second discovery will be that making stationary flight against 170 km/h of wind is extremely difficult if one doesn't have sophisticated tools like Zander or even better SeeYou Mobile in centering page with a scale of 2 nm. Indeed the least error of heading in relation to wind made you drift of several kilometres in few seconds and the return is highly painful! It will take 3h30 to fly these 230 km.
The positive side of the anomaly weather being that we could live the birth and the intense exploitation until the night of many magnificent hydraulic jumps (the one that I named Bidone's Jump by analogy with the discovery of this hydraulic scientist of the XIXth century) and finally, not being submitted to the constraints of the chronometer, I had the immense luck to be able to verify two hypotheses: 1) the conversion of the kinetic energy into potential energy (or more precisely géopotential) does exist: we could see the wind falling from 60 to 1 km/h in few kilometres and 2) the front of the jump doesn't have any relationship with the orography (often more than 30° with anti-clockwise rotation between the axis of the front the line of crest and easily penetrates 200 km into the plain until 50km upwind of the crest line). I could also verify that the leading edge of the cirrostratus ondulatus materializing the jump is not a continuous line like the one of a rebound wave lenticular, but a continuation of tongues, fingers, that makes it look like a gigantic comb. This last aspect appeared to me at the time of previous flights but I never had the possibility to touch these combs with my own wings (around 8.000 m). Now it's done. This meteorological phenomenon deserves more that a paragraph in this article and I intend to deepen this survey more specifically in a next issue.
The verification of the first hypothesis took place January 5 on a triangle of 1.200 km achieved as foreseen, half south north half. Whereas in the half south wind was of about 100 km/h without materialization of high clouds, the beginning of the north half was characterized by a decrease of wind speed around 50 – 60 km/h to the north of Bariloche then 40 – 50 km/h to the north of San Martin. The reading of the sky makes itself then more complex, a hydraulic jump seemed to take birth: cirrostratus in formation from a very definite line, a pseudo leading edge, the cloudy cover intensifying downwind to the point that the plain is in the shade for hundreds of km.
The photo, shot around 18h at 5.500 m and 80 km south of Zapala while looking northbound, shows the existence of the two dynamic systems: the classic rotors of rebound wave (whitest at the lower level), a rotor not well defined, grey, apparently turning reverse in the middle of the picture, consequence of a negative wind gradient therefore testimony of a likely hydraulic jump, of the rebound lenticulars well identified with leading edge and side of trailing edge well defined and materialization of the sinusoid at the middle level, and finally the cover by cirrostratus of the Bidone's jump to the higher level toward 8.000 – 10.000 m of which the leading edge has the shape of a comb composed of very narrow tongues, several kilometres long, without trailing edge, capable to spread until the Atlantic.
Downwind of the Sierra Catan Lil, I observe that wind falls to 10 then 1 km/h during several minutes Fig. C7, it is not a calculation error!
A fast research and the vario starts to move up. Superb, we found the heart of the hydraulic jump, where all the kinetic energy converts into energy (geo)potential energy, finally the proof that I waited for years! The rest of the flight in the front of the jump, with a wind of only 35 km/h is a delight for the eyes and a delirium for the mind, except that the turn point is 30 km downwind of the leading edge of the jump and making a vertical would mean to go from the paradise to the hell because the cloud collapses with probably rain and snow, that is not for me.
I take advantage of this point to verify the second hypothesis and I exploit the FAI rule that allows to turn practically beyond the point at any distance in a sector of 45°, passing to the vertical of the lake Caviahué, to the vertical of the chain of the Andes and therefore in a dynamic system that has no relationship downwind with the rebound. This hypothesis will be verified at the time of every flight in the Bidone's jump.
At the return, the cirrostratus of the jump thickened as far as swallowing the rebound lenticulars and the totality of the cloud collapsed toward the plain, see photo C5 taken around 19h35 at 7.000 m while looking at southbound cross Loncopuhé.
Another pleasant surprise was to be able to exploit some rebounds by winds of south sector to southwest (180 to 210°) oriented of 60 to 90° in relation to the axis of the chain that gives him birth. The photo C6 at 22h39 January 6 at 5.000 m shows a system of which we lived the formation in the quarter of hour preceding (the lenticulars are even translucent) triggered by the north tip of the Cordon de Esquel. These beautiful lennies are not positioned as usual downwind of the chain to the vertical of the road that one sees on the photo, but in full middle of the hole that separates this range from the one of Maiten. The wing is oriented voluntarily full South, wind is from 200° for 100 km/h. Certainly the Vz are not very high but these unusual conditions permit to make touristic flights of an extraordinary beauty inside the cordillera, or even in Chile, whereas under the conditions of record flights, the whole cordillera is therefore in the clouds and invisible.
The apotheosis, the final bouquet of this season, was the evening of January 15, one day that had to be just good for the wave maiden flight of a French hang glider pilot of the first days (70's), fishing guide in Bariloche. Takeoff around 16h local after coffee, classic course in surfing on the rolls until the km 300 to the south and it is while coming back close to Bariloche toward 20h loc. that we observe the formation of an absolutely monstrous Bidone's jump and whose front spreads beyond the Lanin volcano, 200 km to the North. The declining sun generates the absolutely extraordinary colours, covering the whole palette of the rainbow since the orange red facing the sun, to the intense blue to the vertical while passing downwind by the black of the lenticulars. The controller having allowed us FL 280, I benefit from this to be going to photograph the famous tongues that characterize the leading edge of the jump.
While the humans on the ground are in ecstasies in front of this phenomenon (photo X2 of the beginning of this article), I am afraid that the altitude and the spectacle made me lose the reason because I arrived at the end of the front close to the Lanin volcano at km 150 from Bariloche but 44 minutes before the aeronautic night, I left downwind during 30 km to make an experiment. I could have gone back to Bariloche effectively at more than 200 km/h average if I had remained in the front of the jump, as much this average was not more obtainable while jumping from lenticular to lenticular and besides the varios is weak. In few minutes I realize that I made an error, but these few minutes are of too much and will become at least fifteen if I persevere. Useless to take some risks while going back from night even though the thing was technically possible. I should have paid for the tax for the opening of the airport in extra hours, that would have made the maiden flight quite expensive! Klaus has just landed in Chapelco and reminds me that I have 10 minutes before the black night, the time to photograph the spectacle from our 5.000m and a dive to Chapelco where we land precisely in the minute of the night. Thanks to Klaus and his friends for their help!
← 6/8 - An argentinian cow difficult to digest. 4/8 - The engine behaved well but the surprises came from elsewhere. →


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Willem de Kooning Woman 1
A Joyous Grotesque: Willem de Kooning's Woman, I (1950-52) In 1953, The Museum of Modern Art acquired a new painting, one that prompted its collection committee to state: The Committee found the picture quite frightening, but felt that it had intense vitality and liked the quality of the color . 3 The picture in question was Willem de Kooning's Woman, I (1950 - 52) Viewing Willem de Kooning's Woman I is an arresting experience. Drawing inspiration from woman in all her forms, from Paleolithic fertility goddesses to American billboard bombshells, de Kooning presents us with a powerful image that is both intimidating and intriguing. As de Kooning himself said, Beauty becomes petulant to me Woman I, 1950-52 by Willem de Kooning. Click Image to view detail. De Kooning famously said, Flesh is the reason oil paint was invented, and although he often worked in an abstract style he continually returned to the figure. Woman, I took an unusually long time to complete. De Kooning made numerous preliminary studies then repainted the canvas.
The strange story behind Willem de Kooning's Woman I | art | Phaidon. Woman I, (1950-2), oil, enamel and charcoal on canvas, 192.7 x 147.3 cm (75 x 58 in), The Museum of Modern Art, New York Artwork by Willem de Kooning © 2014 The Willem de Kooning Foundation/Artists Rights Society, (ARS), New York It was two years since de Kooning had shown the first six works from the series, including Woman I, which now resides in the permanent collection of the Museum of Modern Art in New York. As for the controversy, that stemmed from the fact that many feminist critics saw the Woman paintings as deeply macho, or even outright misogynistic Willem de Kooning was one of the most important artists in the Abstract Expressionist movement. De Kooning was American but born in the Netherlands, expressionist but not always abstract. His Women series -described by T. Hess as black goddesses- is widely considered the zenith of his oeuvr
Willem de Kooning, Woman, I, 1950-52, oil on canvas, 192.7 x 147.3 cm (The Museum of Modern Art) © The Willem de Kooning Foundation A conversation between Dr. Beth Harris and Dr. Steven Zucker Cite this page as: Dr. Beth Harris and Dr. Steven Zucker, Willem de Kooning, Woman, I , in Smarthistory , October 8, 2016, accessed January 21, 2021, https://smarthistory.org/de-k-woman/ Willem de Kooning Woman, 1950 De Kooning's paintings of women from the early 1950s came on the heels of a highly successful series of black-and-white abstractions. His figural subject matter was at first criticized as a step back because it went against the current trend toward abstract compositions. In the years since, however, these works.
The Woman paintings of Willem de Kooning are unpleasant. They always have been. It was already apparent when painters who dropped by the artist's studio between 1949 and 1952 saw the pieces in progress. That was on New York's 10th Street, and those canvases gave off the down-town vulgarity of a lean neighbourhood. [1 Willem de Kooning, Woman, I, 1950-52, oil on canvas, 192.7 x 147.3 cm (The Museum of Modern Art) © The Willem de Kooning Foundation A conversation between Dr.. Willem de Kooning (1904-1997) Woman, Hand Before Face signed and dated 'de Kooning 65' (lower right) oil on paper laid down on board 36 x 23 in. (91.4 x 58.4 cm.) Painted in 1965
MoMA Willem de Kooning
Between 1964 and 1966, de Kooning painted a series of larger-than-life female images on hollow-core doors, two of them Woman, Sag Harbor (1964; fig 1) and Woman 1965 (fig. 2). These works, considered a benchmark in the artist's career, confirm a shift in his technical methods that had begun around 1960. Using support primed with smooth, opaque what grounds, pigments mixed with large amounts of.
g an American citizen in 1962. In 1943, he married painter Elaine Fried. In the years after World War II, de Kooning painted in a style that came to be referred to as abstract expressionism or action painting, and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Elaine de
Willem de Kooning was born April 24, 1904 in the working class district of Rotterdam Noord (North Rotterdam) to parents Leendert de Kooning and Cornelia Nobel. His parents divorced on January 7, 1907 and de Kooning lived with his mother. His early artistic training included eight years at the Rotterdam Academy of Fine Arts and Techniques
Woman I Willem de Kooning Allora DeVries. Loading... Unsubscribe from Allora DeVries? How to paint like Willem de Kooning - with Corey D'Augustine | IN THE STUDIO - Duration: 19:50
utos de arte? Mujer I (1950/52). Willem de Kooning. Óleo sobre tela. 192,7 cm x 147,3 cm. MoMA Nueva York, Estados Unidos
Willem De Kooning does not cuts has problem with the women, he like the beautiful women and its relations with her testifies some. It treats here the symbol and this in a rather personal way. Born in 1904 the painter knew the 2 world wars of the 20th century. The woman gives the life and being done it gives also death
Willem de Kooning - Mujer I, 1950-52 - oleo sobre lienzo, 192.7- 147.3 cm. - Nueva York, Museum of Modern Art (MOMA
Action Painting and Willem de Kooning's Woman
ins. Historique. Willem de Kooning peint Woman I sur deux années, de 1950 à 1952. Il réalise de nombreuses études préli
Willem de Kooning (* 24.April 1904 in Rotterdam; † 19. März 1997 in East Hampton, Long Island, New York) war ein niederländischer, seit 1962 US-amerikanischer Maler.Er war einer der bedeutendsten Vertreter des abstrakten Expressionismus und gilt neben Jackson Pollock als Wegbereiter des Action Painting
ary studies and repainting the work repeatedly. The hulking, wil
Willem de Kooning, einer der führenden Vertreter des Abstrakten Expressionismus, arbeitete mehr als sechs Jahre lang an seiner Woman-Serie.Trotz des improvisiert wirkenden Erscheinungsbildes der größeren Gemälde in dieser Serie fertigte de Kooning mehr als 200 Skizzen und Studien an, bevor er sein inzwischen zur Ikone gewordenes Werk Woman I (Frau I) (1950‒1952) vollendete
Willem de Kooning was born in Rotterdam, the Netherlands, and moved to the United States in his early 20s, arriving in Manhattan by 1927. A founding member of the Abstract Expressionist movement in New York, de Kooning was a contemporary of painters Jackson Pollock, Franz Kline and of course his wife, Elaine de Kooning
Willem de Kooning (April 24, 1904 - March 19, 1997) was a Dutch-American artist known as a leader of the Abstract Expressionist movement of the 1950s. He was noted for combining the influences of Cubism, Expressionism, and Surrealism into an idiosyncratic style
The Foundation fosters the study and appreciation of Willem de Kooning's life and work through research, exhibitions, and educational programs. The Willem de Kooning Foundation. The Artist ; The Foundation Woman I, 1950-52. oil on canvas, 75 7/8 inches x 58 inches. The Museum of Modern Art, New York. Purchase (478.1953) Digital Image. De Kooning didn't shy away from failure. In fact, he believed that serious art was doomed to fall short of its potential, as art historian Robert Storr has explained. Perhaps surprisingly, the concept motivated de Kooning's work. Failure ought to take your whole life, active life, the painter once said
Study of Woman's Head, c. 1938-1942. pencil on paper, 9 1/4 x 7 inches . Two Standing Men, 1938. oil and charcoal on canvas, 61 x 45 inches. All artworks by Willem de Kooning ©The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York. Back to Top. de K ooning A Tribute to Richard Gray This exhibition is a tribute to the legacy of the gallery's founder, Richard Gray, who passed away earlier this year. Founding his gallery in 1963, and exhibiting at Art Basel since 1992, Richard Gray played a vital role in advising some of the most notable private collectors for over half a century. The works presented highlight the revered art dealer and collector. More de Kooning Abstract Expressionist Artwork Oil on Canvas Artwork Made in 195 A first-generation Abstract Expressionist, Willem de Kooning is one of the most important artists of the 20th century.In 1950s New York, when painters like Jackson Pollock and Franz Kline were moving away from representational imagery toward pure abstraction, de Kooning maintained a commitment to the figurative tradition, developing a signature style that fused vivid color and aggressive paint.
Woman I, 1950-52 by Willem de Kooning
Willem de Kooning. Woman I, 1950 - 1952 Oil on canvas . Painting. Recent Lots By Willem de Kooning. Poems by Frank O'Hara - Limited Editions Club - Willem de Kooning Ro Gallery. Head - Willem de Kooning Christie's Online. Untitled - Willem de Kooning.
Willem de Kooning (1904-1997) was one of America's most influential artists. Born in Rotterdam, he moved to New York when twenty-two years old, where his European training setting him aside from his American contemporaries as he developed into one of the leading exponents of Abstract Expressionism, or the New York School
The Woman in Me focuses on de Kooning's propensity to play with the sexed body in his paintings. Clark argues that earlier criticism may have missed a more philosophical dimension of de Kooning's paintings, one that explores the malleability of representations of biological sex and the male/female binary
Video: The strange story behind Willem de Kooning's Woman I art
Nov 20, 2018 - Williem De Kooning Woman 1 . . . . #dekooning #willemdekooning #art #artlovers #artagram #abstractart #abstract #modernart #modern #color #colors #contemporaryart #contemporary #artsy #woman #women #artappreciatio Willem de Kooning's Place at UAMA. The three-decade-long absence of Woman-Ochre represented both a symbolic and physical hole in UAMA's collection. The artist, de Kooning, was one of the pioneers and leaders of abstract expressionism, a movement that began in New York after World War II
Woman (Green) by Willem de Kooning Christie'
Willem de Kooning's first paintings of female figures were made in 1940, some of them inspired by Elaine Fried, who he would later marry. [1] These early works show the contorted poses, folded limbs, clasped hands and, occasionally, exaggerated eyes, mouths and breasts later adopted for his extended series, but are generally more serene, both in paint-handling and in overall mood Willem de Kooning was a renowned American-Dutch painter that helped form the Abstract Expressionist movement. View Willem de Kooning's 3,005 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, paintings, and works on paper for sale and learn about the artist Willem de Kooning, (born April 24, 1904, Rotterdam, Netherlands—died March 19, 1997, East Hampton, New York, U.S.), Dutch-born American painter who was one of the leading exponents of Abstract Expressionism, particularly the form known as Action painting.During the 1930s and '40s de Kooning worked simultaneously in figurative and abstract modes, but by about 1945 these two tendencies.
Willem de Kooning was born on April 24, 1904, into a working class family in Rotterdam, the Netherlands. Driven by an acutely perceptive mind, a strong work ethic, and persistent self doubt - coupled with the determination to achieve - the charismatic de Kooning became one of America's and the twentieth century's most influential artists The death of Willem de Kooning at the great age of 92, after suffering from the deprivations of Alzheimer's disease for more than a decade, severs our last link with that heroic and wholly. Willem de Kooning, Figure in Landscape I, circa 1951, oil and enamel on paperboard mountrd on fiberboard, 24 1/2 x 14 1/2 inches (62.2 x 36.8 cm) Willem de Kooning, a leading figure of Abstract Expressionism, was born on April 24, 1904 in Rotterdam, the Netherlands Sculpture emerged in Willem de Kooning's practice in 1969, following decades of painting that had established him as a key Abstract Expressionist artist. During a short trip to Rome, Italy, his friend, the sculptor Herzl Emmanuel, invited de Kooning to work in clay at his studio, resulting in 13 small figures ( Untitled #1-12 ) , which were.
Clamdigger is one of the most renowned pieces by Willem de Kooning.This stunning sculpture was modeled in clay in 1972, and cast in bronze in 1976. Having remained in the artist's personal collection since its inception, the close bond between de Kooning and this particular work is quite profound Dec 14, 2020 - Explore Lucy Maliszewski's board Paintings by Willem de Kooning, followed by 195 people on Pinterest. See more ideas about willem de kooning, de kooning, expressionist artists Willem de Kooning was one of the most influential members of the New York School of American Abstract Expressionism (late 1940s, 1950s). While his younger contemporary Jackson Pollock (1912-56) focused on the wholly abstract style of action painting , de Kooning specialized in distorted gestural painting of which Seated Woman is an early.
15% off on all cart items, sitewide! Valid today:20/01/2021. FREE Shipping. FREE Returns All the time. See details. Willem De Kooning One of de Kooning's most famous series was also his most controversial. In 1950, when de Kooning was already enjoying great success, he began painting Woman. This series, which consists of six paintings, turned the classic Western depiction of femininity on its head
Willem de Kooning - Woman I - masterworks of paintin
1 TV guide: 23 of the best shows to watch this week 2 'I'd go for a pint with Willem de Kooning and dinner with Francis Bacon' 3 Oscar Wilde, my grandfather, 'talked himself into prison Saatchi Art is pleased to offer the painting, Homage to Willem de Kooning (Woman 1,2,3), by Maxim Fomenko, available for purchase at $25,000 USD. Original Painting: Acrylic, Oil on Canvas. Size is 47.2 H x 31.5 W x 1.6 in Artwork page for 'Women Singing II', Willem de Kooning, 1966 This is one of three paintings by De Kooning titled Women Singing. They were based on pop singers the artist saw on television. The energetic style and vibrant colours are typical of De Kooning''s work of the 1960s. Interviewed by Sylvester a few years earlier, he spoke of the authority that he felt he had achieved in his painting His style fused strong elements of surrealism, cubism, and expressionism.Though Willem de Kooning is considered an abstract expressionist, and built his reputation beginning with a series of abstract works, he disliked the constraints of style labels and never gave up the representation of the human figure.In the 1950s, he began his most famous series, Women, which reveals a definite Picasso.
Willem de Kooning, Woman, I - Smarthistor
Willem de Kooning was a leading exponent of Abstract Expressionism. MoMA's 2011 de Kooning retrospective drew record crowds, and his prodigious achievements continue to provoke and inspire subsequent generations of artists such as Cecily Brown, Rebecca Warren, and Jonathan Lasker Woman III is one of the most famous and most expensive paintings by Willem de Kooning. Like all the works from the Women series that were painted in the early 50s (1, 2, 3), it caused a lot of controversy. The artist's nervous and aggressive manner, combined with such, to put it mildly, non-standard depiction of female nakedness, puzzled and frightened the public 3.4 In the Studio: Materials & Techniques of Willem de Kooning Part 2 29:05 3.5 In the Galleries: A Closer Look at Woman I, 1950-52 9:12 3.6 Curator John Elderfield on Excavation, 1950 1:5 Willem de Kooning, Woman I. Smarthistory. August 25, 2017 · This is sacred art that has been brought into the twentieth century, and made profane. Join Beth and Steven as they explore the disfigurement and reinvention of the iconic female nude in Willem de Kooning's, Woman, I. Related Videos
Willem de Kooning, Woman, 1950 · SFMOM
Artist: Willem de Kooning (1904-1997) Title: Two Women Year: 1973 Medium: Lithograph on wove paper Edition: 100, plus proofs Size: 14 x 11 inches Condition: Excellent Inscription: Si... Category 1970s Abstract Expressionist Abstract Print (Q002) Willem de Kooning's Woman I was a very spontaneous painting. True (Q003) Willem de Kooning struggled bridging abstraction and figuration in the painting Woman I. True (Q004) We can tell that Willem de Kooning struggled with the painting Woman because of the long period of time he worked on it in his studio (from 1950 to 1952) Willem de Kooning and Pablo Picasso share a surprising number of parallels, despite their obvious differences of generation and cultural background. When studying their work side by side, both tended to focus on the womanly figure reflective on the paradoxes of artistic inspiration
Willem de Kooning and his 'Woman' Series - Quadrant Onlin
Start studying Willem de Kooning, Woman I, 1950-1952. Learn vocabulary, terms, and more with flashcards, games, and other study tools Willem de Kooning (/ d ə ˈ k uː n ɪ ŋ /; Dutch: [ˈʋɪləm də ˈkoːnɪŋ]; April 24, 1904 - March 19, 1997) was a Dutch-American abstract expressionist artist. He was born in Rotterdam and moved to the United States in 1926, becoming an American citizen in 1962. In 1943, he married painter Elaine Fried —Willem de Kooning. Willem de Kooning (1904-1997) was a first-generation member of the New York School, a group of American artists who rose to prominence in the mid- to late 1940s and were noted for their dynamic, allover approach to abstract painting Sydney Tillim, The Figure and the Figurative in Abstract Expressionism, Artforum, Vol. IV, No. 1, September 1965, p. 48, illustrated (titled Clown) Sally Yard, Willem de Kooning's Men, Arts Magazine, Vol. 56, No. 4, December 1981, p. 138, illustrated, and pp. 139-141 (text) (titled Clown) Exh. Cat., Miami, Art Basel Miami Beach, Allan Stone Gallery Booth, Willem de Kooning: Slipping. Willem de Kooning (24 April 1904 - 19 March 1997) was a Dutch abstract expressionist artist. He was born in Rotterdam, in the Netherlands. He moved to the United States in 1926, and became an American citizen in 1962
Willem de Kooning, Woman, I - YouTub
ent pieces of portrait at Wikiart.org - best visual art database
Although the female figure is one of the most traditional subjects in the history of art, the woman in de Kooning's painting distinctly belongs to the 1950s. Her bright yellow dress, high heels, and garish smile—with a second toothy grin hanging below it like a necklace—reflect the glamorous pin-up girls and movie stars of the period
The contemporary-art market skyrocketed last night at Christie's, where Willem de Kooning's 1949 ''Woman,'' a powerful portrait of a woman seated like a Renaissance Madonna, sold for $15.6 million.
e the monumental ''Seated Woman'' of 1969-81 by de Kooning that can now be seen in front of the Seagram Building on Park Avenue will have all the evidence. The.
Willem de Kooning (1904-1997
Willem de Kooning was a renowned American-Dutch painter that helped form the Abstract Expressionist movement. View Willem de Kooning's 3,003 artworks on artnet. Find an in-depth biography, exhibitions, original artworks for sale, the latest news, and sold auction prices. See available prints and multiples, paintings, and works on paper for sale and learn about the artist Willem de Kooning Woman I, probably Willem de Kooning's most well-known piece, is a very aggressive work, depicting a woman as a fierce and erotic figure, very much in opposition to the stereotype of submissive housewife that was prominent in the 50s Jan 15, 2017 - Don't miss these must-see highlights of the collection. Gallery locations are noted. Not all works are on view all the time. Please check with the Info Desk for details on a specific objects. The Nelson-Atkins Museum of Art respects all valid claims of copyright by artists, or by their respective families, estates, foundations, or representatives
Analysis of Willem de Kooning's Woman, Sag Harbo
Willem de Kooning (1904-1997) was a pioneering figure of Abstract Expressionism and one of the most influential artists of the twentieth century. Moving seamlessly from figuration to abstraction—and at times working simultaneously in both—de Kooning's work underwent radical stylistic shifts from decade to decade, continuously evolving and refining. Born in Rotterdam, Netherlands, de. Willem de Kooning was born in Rotterdam, the Netherlands, on April 24, 1904. His parents, Leendert de Kooning and Cornelia Nobel, were divorced in 1907, and de Kooning lived first with his father and then with his mother. He left school in 1916 and became an apprentice in a firm of commercial artists The Museum of Modern Art, New York, accepted de Kooning's change in style as an advancement in his work and purchased Woman I (1950 - 1952) in 1953. What seemed to some as stylistically reactionary, to others was clearly avant-garde
Willem de Kooning - Wikipedi
Willem de Kooning, Woman, I, 1950-52, oil on canvas, 6' 3-7/8 x 58 Learn More on Smarthistor Willem de Kooning - From the Integrity category: I paint the way I do because I can keep on putting more and more things in - like drama, pain, anger, love, a figure, a horse, my ideas of space. It doesn't matter if it differs from mine, as long as it comes from the painting, which has its own integrity and intensity Woman I, 1952 by Willem De Kooning (1904-1997, Netherlands) | | ArtsDot.com Buy 10 paintings and get 25% + 20% off on all items Berthe Morisot Birthday, 25% off sitewide
Also during this period, de Kooning hired an apprentice, Elaine Fried, and she would sit as a female subject for such works as Seated Woman (1940). That would be the artist's first major painting. Willem de Kooning (Róterdam, 24 de abril de 1904 - Long Island, 19 de marzo de 1997) fue un pintor neerlandés nacionalizado estadounidense, exponente en los años posteriores a la Segunda Guerra Mundial del expresionismo abstracto, y dentro del seno de esta tendencia, de la action painting o pintura gestual —pintores de este movimiento fueron Jackson Pollock, Mark Rothko y Clyfford Still. Blog Home Willem de Kooning - The Man of Many Contradictions. Feb 24, 2017. Willem de Kooning is easy to love and easy to hate. De Kooning is an epic figure in the story of 20th Century abstract art, partly because of his work and partly because of his personality 'Woman l', 1950-52, Willem de Kooning 'Seated Woman', 1952, Willem de Kooning. de Kooning in his studio in the 1950s . WILLEM THE ACTION PAINTER: Watching Willem at work in the studio fashioning a masterpiece such as 'Woman 1' would have been akin to watching a sort of frenzied performance art. With his brush, de Kooning could express a. Woman V isone of a series of six paintings, made by de Kooning between 1950 and 1953, which depict a three-quarter‑length female figure. He began the first, Woman I, [1] in June 1950, repeatedly changing and painting out the image until January or February 1952, when the work was abandoned, unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio and encouraged. Although he was known for working on paintings for years at a time, as was the case with Woman I, De Kooning often left his paintings with a certain sense of incompletion, exemplifying the concept of action painting, a burst of energetic and inspired activity. The term was coined by art critic Harold Rosenberg, who described the making of abstract expressionist works as a battle between will and fate, the art object being the record of the painter's struggle
مارشميلو مشوي.
طريق طنطا الزراعي.
طريقة عمل المشبك السوداني.
غرف نوم باللون الوردي.
سفينة الموت جرير.
تردد قناة DW الجديد 2021 نايل سات.
كيف يتم اختراق شريحة الجوال.
كيفية تشغيل الواي فاي على تلفزيون توشيبا.
كيفية تشغيل محرك السيارة.
فاطمة تعلبة.
ترجمة your.
خضروات تؤكل مطبوخة.
فيزا دراسة أمريكا من مصر.
دقيق الحنطة السوداء في مصر.
شروط صيام يوم عرفة.
رقم مستشفى قنا الجامعي.
فيلم كبرو ومبغاوش يخويو الدار.
أعراض قرصة العنكبوت الصغير.
تبيض الوجه بالفازلين.
It's so cute.
فوائد الضفائر الإفريقية.
ماهو الأسبستوس.
منهج الجاحظ في البيان والتبيين.
اشياء لزيادة الوزن.
بدل النقل في قانون العمل اللبناني.
مقدم سوزوكي بيك اب ٢٠٢٠.
أنا الحقير.
الطباعة.
Download Viewer.
التكامل بالتعويض.
خلفيات اقوال الامام علي.
أضرار حقن الكولاجين.
زوج ديانا كرزون السابق.
علامات وقوع رجل الجوزاء في الحب.
دعاء الابتعاد عن المحرمات.
متخلفه بالانجليزي.
تعريف عملية القياس.
تحميل خلفيات للكمبيوتر ملف مضغوط.
فوائد السنامكي للسحر والعين.
أسعار حاويات الشحن.
تحميل برنامج Passport Photo Maker.

redpajama_set_name: RedPajamaCommonCrawl


Editor's note: This is the first in a regular column contributed by writers of the Asia News Network (ANN). ANN is a regional network of 23 leading newspapers, including China Daily, organized to provide avenues for cooperation and to optimize coverage of major news events in the region.
Only about two months after the inauguration of President Joko "Jokowi" Widodo's government last October, Indonesia decided to join the China-led Asian Infrastructure Investment Bank (AIIB) as a founding shareholder for obvious reasons.
As Southeast Asia's largest economy, yet with acutely poor and inadequate infrastructure, Indonesia badly needs to speed up its infrastructure development to improve connectivity within the vast archipelago and to connect the country with global supply chains.
Jokowi rightly put infrastructure on top of his working programs because high quality infrastructure — from reliable power and water supplies to well built roads, seaports and airports — is central to a country's development. It is also essential for everyday life, along with access to education, health services and jobs.
But the $80 billion financing needed for his ambitious infrastructure development for the next five years is simply not available domestically.
The government will be able to fund only about 20 percent of the needed investment and expects the remaining 80 percent to come from the private sector, but the national private sector, notably banks, is simply unable to put up the shortfall.
In 2011, the government established a non-bank infrastructure financing institution, Sarana Multi Infrastruktur, which later founded Indonesia Infrastructure Finance in a joint venture with the World Bank, the Asian Development Bank (ADB) and a German development bank.
This was followed by the Penjamin Infrastruktur Indonesia guarantee fund for improving the creditworthiness of projects, the Government Investment Center for financing land acquisition and a viability gap fund at the Finance Ministry to ensure the financial viability of projects.
But even these specialist infrastructure financing agencies will not be able to supply all the funds needed for the development of such huge infrastructure.
Indonesia's domestic savings also are quite small. For example, third-party funds in the entire banking industry, mostly short term, are now estimated at only 4 quadrillion rupiah ($310 billion) and total bank loans outstanding merely 3.5 quadrillion rupiah.
Hence, foreign loan or equity financing is expected to finance the bulk of the investment.
The AIIB, which was launched in Beijing last October with an initial equity capital of $50 billion, is a great alternative source of funds. It will supplement the ASEAN Infrastructure Fund (AIF), which was set up in 2012 by members of the Association of Southeast Asian Nations, including Indonesia. The Manila-based ADB is the administrator of the AIF and provides technical support.
As Indonesia's Finance Minister Bambang Brodjonegoro noted recently, the AIIB will focus on large projects, filling the gap left by other multilateral lending institutions such as the ADB and the World Bank.
A 2010 study by the ADB estimates that Asia needs about $800 billion a year in infrastructure investment until 2020. But the needs are perhaps most acutely felt in the less developed markets such as Indonesia, where local banks are least able to respond as they depend on short-term funds, while international commercial banks are hesitant.
Indonesia is confident that the AIIB, led by China that has the world's biggest foreign exchange reserves, and with the support of almost 60 countries committed to join the bank, will be able to develop into a multilateral infrastructure bank with a high credit rating.
The market also believes that with the participation of so many developed countries, such as Britain, France and Germany as shareholders, the standards of governance and accountability within the AIIB will be high, thereby further boosting its credit rating.
The accession of so many financially strong shareholders to the AIIB will indeed make it more likely that the bank will adhere to the same standards that govern the World Bank and other international financial institutions.
A high credit rating in turn will create a virtuous circle as the AIIB will then be able to attract additional financing from institutional investors such as pension, insurance and sovereign wealth funds, currently estimated globally at $50 trillion.
That is because infrastructure projects offer reliable long-term, steady cash flow, a hedge against inflation, low volatility and returns.
A high credit rating is vital for the AIIB because as a non-commercial bank it must depend mainly on the capital market to strengthen its lending resources.
As the China-led bank steadily builds up its reputation, its involvement in a project or a transaction, whether through financing or guarantee support, will give such an undertaking greater credibility with host governments, private investors and lenders.
Good cooperation with the World Bank and ADB, which have long experiences in project financing, could also increase the likelihood that the AIIB will become an efficient supplement to those two multilateral development banks.
Recruiting former executives of the World Bank and the International Monetary Fund to help set up the structure of AIIB and build up an effective risk-management system and a body of expertise in designing project finance could, from the outset, enhance this new bank's credibility with the developed country shareholders.
Then as the AIIB steadily replenishes its funding resources and develops a broader body of skills and expertise, it will eventually be able to assist public-private partnership centers in Asian countries in formulating enabling laws and regulations.
Hence, on a very positive note, the AIIB has a great chance of becoming an efficient and credible supplement to the World Bank and ADB, which are perceived to be dominated by the United States and Japan, respectively.
Indonesia's participation in the AIIB as a shareholder should also be seen as another step forward in further deepening the economic cooperation between the world's second-largest economic powerhouse and Southeast Asia's largest and most vibrant economy.
China is already Indonesia's largest trading partner, and Indonesian public and private sectors have increasingly become comfortable dealing with Chinese investors.
On an even more positive note, especially regarding infrastructure development, Chinese construction companies and financing institutions have played a major role in Indonesia's first fast-track electricity development of 10,000 megawatts since 2006.
The $450 million 5.4-kilometer cable-stayed bridge — the longest in the country — that links Surabaya, the capital of East Java province, and Madura Island was built by a consortium of two Indonesian state-owned construction companies and two Chinese contractors.
The writer is a senior editor with The Jakarta Post.


The first sweep in Series history didn't come easy for rookie Wyatt Gooden, driving a Van Diemen/Honda for Quantum Racing Services, who had to fight Mitch Martin on two straight days to take home two first place trophies.
"The Van Diemen/Honda was great, and it was a fun race with Mitch [Martin]," Gooden said at the finish.
Speaking of Series debuts, Mitch Martin, from Australia, was in the spotlight just like Wyatt Gooden. While both drivers, with limited experience, made their debuts with established prep shops, Martin was in a new Spectrum chassis from Australia with a freshly fitted Honda.
The Spectrum chassis was delivered to the Cape Motorsports with Wayne Taylor Racing St. Petersburg, Fl. race shop just days before the race. It was essentially taken out of the crate and put in the transporter.
For competitors that haven't signed up for the Honda and Ford contingency programs, click here to get the details.
Two days of catered Honda Performance Development (HPD) lunch fed some 300+ people in both the F2000 and F1600 paddocks. The HPD hospitality setup was a big hit, providing good food, TV, shade, and a great meeting place.
Additionally, an hour-long sponsor seminar put on by Ken Ungar, president of U/S Sports Advisors, was well received by drivers and teams. Learn more about U/S Sports Advisors by clicking here.
Jim Oseth took CellMark Paper Hard Charger honors in the first race of the weekend, advancing 13 positions to finish 12th, and on Saturday, it was Jacob Carpenter winning the CellMark Hard Charger. Carpenter advanced 10 positions.
Jim Oseth's weekend performance ties him with Ric Baribeault for the current season-long CellMark Hard Charger points lead with 19 position improvements. Check out the standings here.
Tim Kautz was running third and had passed Ryan Leach on Saturday (race two) before Ryan Leach spun on oil.


text:
Nix the Loaned Engine
Nix the Loaned Engine is the fourth episode of the eleventh season.
Air date January 21st, 2013
Old Iron Next
The Unstoppable Nix
With Edward on an overhaul, that meant there was no one to service the Wellsworth-Brendam Branch Line. Edward ran the Branch single-handedly.
The Fat Controller was quick to assign James to work there, but was not keen on letting him.
James had worked there for a month during the war after the points at Wellsworth stuck and he had wanted his own Branch, but had not liked it; it meant doing his own shunting, combining coaches and goods, and of course pulling trucks.
Everyday, some trucks came from the Other Railway, mostly rails and ties, coal trucks, and slate.
Just two days after Edward was sent to the Works came trouble...
As James rounded in front, the first truck called out, "Hey, hey you! Why are you red?"
"Because I'm a splendid engine. Red is the only proper color for an engine," he replied. "Do you like it?"
That was a mistake.
"Do you mean the most improper color, all engines are painted black, green, or blue, not red," the second truck added, "and it makes you look more like a..."
"Big red monster! Ha ha ha ha!" the trucks laughed.
"Your fun has ended. You will pay!" screamed James in furry.
"You'll need bootlaces," whispered the first truck.
"And our fun has just begun," the second truck added.
(shows James derailed and trucks piled up)
James was towed home by Toby and Percy.
When Delete arrived at Tidmouth Sheds, James was moaning endlessly about trucks.
"Please James, shut up. I am trying to sleep," pleaded Delete.
"Oh! So you don't care about me?! Look at me!" James retorted.
James had a scratch in his smokebox, and his paint was ruined.
James began to cry and though James woke up cheerful and blue, Delete hadn't slept a wink.
"Feeling blue James?" asked Gordon.
"What? Disgusting, it's a shame to be blue," James retorted and set off to the Express.
"Now we're the three big blue engines," Gordon chuckled.
"But I'm in for a repaint today," Henry said.
"Disgraceful."
Later, the Fat Controller came to see Edward. He was sitting outside so he could see trains out, but he had no wheels and tender.
"How you doing Edward?" asked the Fat Controller.
"Fine Sir, though I wish that I at least had wheels. And I thought the works livery would be pink, but it's red. Reminds me of my Furness Railway livery. Don't tell me James is running my Branch Line."
"Unfortunely, he's the only engine who can. If only there was another engine we could borrow."
"Sir, remember Nix the Reid D34."
"She helped us out a ton. She almost single-handedly ran the Main Line. Cause Henry was ill, Thomas was away, and I well, on construction of the extention to Brendam."
The Fat Controller stared for a while, he was trying to see where Edward was heading.
"Wait, are you implying...?"
"Yes, Sir. She could easily do it. She doesn't mind trucks, coaches, passengers, and combining them."
"I must contact her owner at once then. Thank you Edward. I'd knew I could count on you," the Fat Controller said, then hurried across the yard to his car.
Two days later, a Reid D34 with the number 62499 steamed into Vicarstown.
"I still wonder why the Fat Controller wants to meet at Tidmouth and not here," the engine said.
(camera pans to show 'Nix' written on her splasher)
Suddenly, there was a loud, high pitched whistle, and a blue tank engine approached her. He was like Thomas, but his tanks sloped foward at the smokebox.
"Hullo," she said. "I'm Nix."
"I'm Dodger the Gresley J50, NWR No. 68899. And, oh, I've heard of you from Edward, Henry and Gordon. I wouldn't boast, but I will, that I myself am a master with trucks too. I've to take these to Crovan's Gate, want to help me?"
"Sure."
"I work at Vicarstown Coal Mines. I have joint ownership actually, I'll share more about me at Tidmouth tonight," Dodger called back.
"I already want to hear about you," Nix called back.
At Crovan's Gate, Dodger shunted the trucks to the coal hopper.
"Nix!" called Edward.
"Edward! What a surprise? What are you doing here?"
"I'm being overhauled."
"Its quite a story, so whilst he loads the hopper, I'll tell you about it..."
Edward finished just as the last truck was loaded in.
"All clear. You may go now," Dodger announced.
"Thank you, and I'll see you at the Sheds tonight."
"That dirty, grubby little tank engine," Edward smiled.
"He likes trucks alot, doesn't he?"
"Yep, part of the Gresley GNR J23 designs. Prototype LNER J51. Later J50. Built at Doncaster in 1914, Gordon is always cross when he mentions that."
"Do Thomas and Henry still work here?"
"Yes, and we have other new engines too, but I want you to meet them yourself."
At Knapford, Thomas was waiting for Gordon to pass with the midday Wild Nor' Wester, and he had encouraged Percy and Toby, who had brought some trucks to the Harbour to wait with him.
"But isn't she coming tomorrow?" asked Percy.
"Percy, I've told you a million times, the Fat Controller told me personally that she would arrive today," Thomas replied.
"Is she black, with her hand-rail over her smokebox?" asked Toby, observing the coming engine.
"Yes, and why it's her! I told you Percy, I told you!" Thomas shouted excidetly.
He made so much noise that the Guard and the passengers stepped out to welcome Nix.
"Hullo, Thomas, Nos. 6 and 7. It's so good to see you again."
"Percy," replied 'No. 6'.
"And Toby," replied 'No. 7'.
"I now run the Knapford-Ffarquhar Branch. And since 1925, we've moved the headquaters to Tidmouth. Thought you might need an explanation."
"I did."
Suddenly, Gordon rushed past. Though he didn't stop, he smiled and winked at Nix.
"The Fat Controller's waiting for you at Tidmouth," Percy said.
"After Nationalization he became the Fat Controller," Thomas said. "See you at Tidmouth Sheds tonight."
"She worked on the railway before you came. She almost single-handedly ran the Main Line," Henry explained to James and Delete. "look, here she comes."
"Hullo, um...?"
Nix was puzzled, she didn't know James or Delete, nor did she recognize Henry's new shape.
"I'm Henry," said the Black 5 figure, "story's at Tidmouth Sheds tonight."
"I'm James, NWR's No. 5, came to the railway after you," said the red engine.
"And I'm Delete, just got bought in 1948."
"Henry, so good to see you, and to meet you two," she said.
Just then, the Fat Controller came out.
"You're probably wondering why I need you."
"Yes, Sir. I am."
"Well, apparently some engines," he began and gave a look at James, "cannot single-handedly run Branch Lines, and needent I say he's painted in a (clears throat), improper or unusual colour," he whispered and Nix giggled, "but anyways you are the only light, big, strong, and capeable of running the Branch for the months whilst Edward's being overhauled. I can rely on you, because we still need to catch those boys, to work indepently and usefully."
"No problem, Sir."
At the Sheds that night, the engines let her chose her spot first.
"Now, I want to hear Dodger's story first," she said.
"Well, I was built at Doncaster in 1914, worked at Ardsley until 1948, Nationalization by the way, moved to Doncaster, so good to be home, and was bought by Vicarstown Coal Mines and Sir Topham Hatt, June 1950, but was buried in..." he paused dramatically, "an avalanche in 1951. Luckily, the Fat Controller knew I was a Really Useful engine and had me repaired at Doncaster. Since then, I was repainted blue and remained at Vicarstown Coal Mines."
Thomas, then shared how he got his Branch Line, and the adventures of 1929, Henry told the dreadful accident with the Flying Kipper at Killdane in 1935, Gordon, Delete, and Percy explained how they got to Sodor. Toby told Nix about how he was saved from scrap.
"What about me!" shouted James.
"Alright go ahead," Nix replied.
And James, last but got to share his story.
"So, how's it been on the Other Railway?" asked Dodger.
"Some of my brothers and sisters were withdrawn for the past two years. I feared I was next, and I don't know if I'll be able to survive preservation. I've been on goods duties."
"Well, you helped us alot," Gordon said. "If you ever get withdrawn, tell your owner to tell the Fat Controller."
"You helped us, so it's only proper that we help you," Henry added.
"Your end is not coming," Thomas finished.
Nix looked the engines. She knew that she could count on them.
"Promise?"
"We promise," the engines replied and they fell soundly asleep.
Sir Topham Hatt
Annie and Clarabel (cameo)
"Your end is not coming."
In reality there is no D34 numbered 62499, the BR sequence only went up to 62498, so technically, there would be no end for Nix as her number never existed.
Retrieved from "https://thomasmadeupcharactersandepisodes.fandom.com/wiki/Nix_the_Loaned_Engine?oldid=23247"


The efficiency in the way that your materials are handled at your production facility depends mainly on the way your items are organized, and if you are using the right type of equipment for whatever tasks you need to perform on a frequent basis.
Many times, a company will simply purchase what they perceive to be the best material-handling equipment they can afford. They think this will act as some 'miracle cure' that will automatically ensure their warehouse runs with maximum efficiency. They are surprised when their situation does not improve. Throwing 'the best' at a disorganized warehouse is not a smart solution.
To get the best out of your material-handling equipment you may need to take a look at your production systems as a whole. Here are some quick tips designed to help you to do just that.
Your materials come from somewhere – either external companies or from other areas of your organization. No matter where they come from, when they arrive you need to take control of your inventory and stocking process in one single step. The main costs involved with material-handling come from how many times the material is actually handled – the more it is handled, the higher the cost.
You can take immediate control of your inventory by investing in computer-based technologies such as barcodes, scanners or even RFID (Radio-frequency identification) technology. All these systems greatly reduce the time that your employees will spend updating and maintaining the record of your inventory. As soon as an item enters your warehouse, it can be scanned or automatically entered into your stock control database and further tracked throughout the production process.
The same type of technology can be used to inform your workers precisely where the material needs to be handled and placed within your storage facility. Don't rely on technology too much though – good old-fashioned labelling and visual identification is still key. If your tech systems hang or fail, then you don't want your entire production floor to grind to a halt.
Want to Maximize Efficiency? Then Get Organized!
There's probably no greater contributor to the efficiency of your production floor and warehouse facility than proper organization. The way you organize though is entirely up to you, as you know how your production facility works. You will of course need to take advice from your employees who actually work on the production floor.
There are many ways of organizing – by arranging your most frequently-used items at the easiest point where you can retrieve them, for example. This will allow for your material-handling equipment to be used in the most efficient way possible. This solution will not suit every environment, though, so make sure you keep an open mind with regards to how your materials are organized.
You will find that technology helps, but only of you are properly organized.
No doubt you do not pick items on an item-by-item basis. This would be too time consuming, especially if your production floor is a very busy place. To create pick lists, a logistics program is the best way to go, or even a third-party provider. Remember, every production facility is unique.
It's best if your materials are selected in bulk, via grouped orders. The items can then be transported to your shipping or logistics department and then individually sorted on an order-by-order basis. There is usually an 'end-of-line' verification process so you don't lose any time by adopting this approach. You will also need a way of handling mistakes – for example if the wrong item(s) is/are selected. The route to end-of-line is never just a one-way street, remember! Your inventory software will need a way of returning incorrect items back into storage, or else the accuracy of your inventory will collapse.
If you're a supplier then you are probably loading your items onto large trucks in order to get them to their destinations. The golden rule here is 'last off, first on.' You do not want to be searching through countless orders at the delivery point as that is a complete waste of time. Use GPS technology to calculate the most advantageous route and load your items accordingly. This applies even if you use a third party for your shipping needs.
With all this talk about organization, technology and software you might think the key of this article has been forgotten, but that is not the case! You will of course need the correct material-handling equipment for your facility for proper unloading, loading and movement.
If you store your items on pallets, then you will need to make sure that you have the correct hand trucks or fork lifts in order to move items without putting too much strain on your employees. You will also need to make absolutely sure that your equipment is maintained properly. Accidents mainly happen because of poor-maintained equipment. Such accidents may see you lose products or even worse, injure your employees.
It's also important that your workers receive proper training so they know how to handle the equipment they are using. You should also make sure that your warehouse is structured in such a way that navigation and movement comes unhindered. Poor performance of your equipment and/or your employees leads to inefficiency, and wastes money.
You need to understand that the advice that is given above is meant only in a general sense, and that not everything listed above will apply directly to you. It's up to you to work out how the proper use of material-handling equipment and warehouse organization can benefit you, and the chances are you will be amazed at the results!
To learn more about material-handling equipment, please feel free to contact us here at Douglas Equipment toll free at 1-800-451-0030, or in the Miami area at 305-888-3700. If you'd prefer you can contact us via our online form as well. We look forward to hearing from you soon.


Two sisters, Francina and Roderica James, recently opened the newest Black-owned bed & breakfast in Detroit where they were both born and raised. The Cochrane House, their dream project, is a modern and innovative bed & breakfast perfect for travelers looking for unique accommodation within the culture-filled city.
The duo, who have been entrepreneurs for 17 years, didn't really have a background in the hospitality field when they decided to venture into that business. But when they saw the opportunity of Detroit as a tourist destination, they started looking for the perfect place to build their dream business.
In 2009, they found a property formerly owned by Lyman Cochrane, the appointed Judge of the Superior Court of Detroit in 1873. They started the renovations in 2013 and had it finished 5 years later. That mansion is now known as The Cochrane House, the bed & breakfast that opened last May 2018.
The Cochrane House features three guest rooms, home-cooked breakfast, hand-poured home-made soap, and special Cochrane House candles. They also offer customized packages for private parties and events. It is ideally located near all three major sports arenas and theater district in Detroit.
Although it only opened eight months ago, The Cochrane House already welcomed numerous visitors, mostly Black millennials, who enjoy its uniqueness from traditional bed & breakfast.
"We try to provide a different experience that you wouldn't find in a traditional bed breakfast, we're innovative in that way. After a day of sightseeing, we want to be able to provide an excellent base for people to relax, and not be overbearing. We are not a pretentious atmosphere, it's very relaxing, with touches of luxury," the James sisters told Essence.


I was seldom at home in the evening, for when I attempted to occupy myself in my apartments the lamplight brought in a swarm of noxious insects, and it was too hot for closed windows. Accordingly I spent the late hours either on the water(the moonlight of Venice is famous), or in the splendid square which serves as a vast forecourt to the strange old basilica of Saint Mark. I sat in front of Florian's cafe, eating ices, listening to music, talking with acquaintances: the traveler will remember how the immense cluster of tables and little chairs stretches like a promontory into the smooth lake of the Piazza. The whole place, of a summer's evening, under the stars and with all the lamps, all the voices and light footsteps on marble(the only sounds of the arcades that enclose it), is like an open-air saloon dedicated to cooling drinks and to a still finer degustation-- that of the exquisite impressions received during the day. When I did not prefer to keep mine to myself there was always a stray tourist, disencumbered of his Baedeker, to discuss them with, or some domesticated painter rejoicing in the return of the season of strong effects. The wonderful church, with its low domes and bristling embroideries, the mystery of its mosaic and sculpture, looking ghostly in the tempered gloom, and the sea breeze passed between the twin columns of the Piazzetta, the lintels of a door no longer guarded, as gently as if a rich curtain were swaying there. I used sometimes on these occasions to think of the Misses Bordereau and of the pity of their being shut up in apartments which in the Venetian July even Venetian vastness did not prevent from being stuffy. Their life seemed miles away from the life of the Piazza, and no doubt it was really too late to make the austere Juliana change her habits. But poor Miss Tita would have enjoyed one of Florian's ices, I was sure; sometimes I even had thoughts of carrying one home to her. Fortunately my patience bore fruit, and I was not obliged to do anything so ridiculous.
One evening about the middle of July I came in earlier than usual-- I forget what chance had led to this--and instead of going up to my quarters made my way into the garden. The temperature was very high; it was such a night as one would gladly have spent in the open air, and I was in no hurry to go to bed. I had floated home in my gondola, listening to the slow splash of the oar in the narrow dark canals, and now the only thought that solicited me was the vague reflection that it would be pleasant to recline at one's length in the fragrant darkness on a garden bench. The odor of the canal was doubtless at the bottom of that aspiration and the breath of the garden, as I entered it, gave consistency to my purpose. it was delicious-- just such an air as must have trembled with Romeo's vows when he stood among the flowers and raised his arms to his mistress's balcony. I looked at the windows of the palace to see if by chance the example of Verona (Verona being not far off) had been followed; but everything was dim, as usual, and everything was still. Juliana, on summer nights in her youth, might have murmured down from open windows at Jeffrey Aspern, but Miss Tita was not a poet's mistress any more than I was a poet. This however did not prevent my gratification from being great as I became aware on reaching the end of the garden that Miss Tita was seated in my little bower. At first I only made out an indistinct figure, not in the least counting on such an overture from one of my hostesses; it even occurred to me that some sentimental maidservant had stolen in to keep a tryst with her sweetheart. I was going to turn away, not to frighten her, when the figure rose to its height and I recognized Miss Bordereau's niece. I must do myself the justice to say that I did not wish to frighten her either, and much as I had longed for some such accident I should have been capable of retreating. It was as if I had laid a trap for her by coming home earlier than usual and adding to that eccentricity by creeping into the garden. As she rose she spoke to me, and then I reflected that perhaps, secure in my almost inveterate absence, it was her nightly practice to take a lonely airing. There was no trap, in truth, because I had had no suspicion. At first I took for granted that the words she uttered expressed discomfiture at my arrival; but as she repeated them--I had not caught them clearly--I had the surprise of hearing her say, "Oh, dear, I'm so very glad you've come!" She and her aunt had in common the property of unexpected speeches. She came out of the arbor almost as if she were going to throw herself into my arms.
I hasten to add that she did nothing of the kind; she did not even shake hands with me. It was a gratification to her to see me and presently she told me why--because she was nervous when she was out-of-doors at night alone. The plants and bushes looked so strange in the dark, and there were all sorts of queer sounds-- she could not tell what they were--like the noises of animals. She stood close to me, looking about her with an air of greater security but without any demonstration of interest in me as an individual. Then I guessed that nocturnal prowlings were not in the least her habit, and I was also reminded (I had been struck with the circumstance in talking with her before I took possession) that it was impossible to overestimate her simplicity.
"You speak as if you were lost in the backwoods," I said, laughing. "How you manage to keep out of this charming place when you have only three steps to take to get into it is more than I have yet been able to discover. You hide away mighty well so long as I am on the premises, I know; but I had a hope that you peeped out a little at other times. You and your poor aunt are worse off than Carmelite nuns in their cells. Should you mind telling me how you exist without air, without exercise, without any sort of human contact? I don't see how you carry on the common business of life."
She looked at me as if I were talking some strange tongue, and her answer was so little of an answer that I was considerably irritated. "We go to bed very early--earlier than you would believe." I was on the point of saying that this only deepened the mystery when she gave me some relief by adding, "Before you came we were not so private. But I never have been out at night."
"Never in these fragrant alleys, blooming here under your nose?"
"Ah," said Miss Tita, "they were never nice till now!" There was an unmistakable reference in this and a flattering comparison, so that it seemed to me I had gained a small advantage. As it would help me to follow it up to establish a sort of grievance I asked her why, since she thought my garden nice, she had never thanked me in any way for the flowers I had been sending up in such quantities for the previous three weeks. I had not been discouraged--there had been, as she would have observed, a daily armful; but I had been brought up in the common forms and a word of recognition now and then would have touched me in the right place.
"Why I didn't know they were for me!"
"They were for both of you. Why should I make a difference?"
Miss Tita reflected as if she might by thinking of a reason for that, but she failed to produce one. Instead of this she asked abruptly, "Why in the world do you want to know us?"
"I ought after all to make a difference," I replied. "That question is your aunt's; it isn't yours. You wouldn't ask it if you hadn't been put up to it."
"She didn't tell me to ask you," Miss Tita replied without confusion; she was the oddest mixture of the shrinking and the direct.
"Well, she has often wondered about it herself and expressed her wonder to you. She has insisted on it, so that she has put the idea into your head that I am insufferably pushing. Upon my word I think I have been very discreet. And how completely your aunt must have lost every tradition of sociability, to see anything out of the way in the idea that respectable intelligent people, living as we do under the same roof, should occasionally exchange a remark! What could be more natural? We are of the same country, and we have at least some of the same tastes, since, like you, I am intensely fond of Venice."
My interlocutress appeared incapable of grasping more than one clause in any proposition, and she declared quickly, eagerly, as if she were answering my whole speech: "I am not in the least fond of Venice. I should like to go far away!"
"Has she always kept you back so?" I went on, to show her that I could be as irrelevant as herself.
"She told me to come out tonight; she has told me very often," said Miss Tita. "It is I who wouldn't come. I don't like to leave her."
"Is she too weak, is she failing?" I demanded, with more emotion, I think, than I intended to show. I judged this by the way her eyes rested upon me in the darkness. It embarrassed me a little, and to turn the matter off I continued genially: "Do let us sit down together comfortably somewhere, and you will tell me all about her."
Miss Tita made no resistance to this. We found a bench less secluded, less confidential, as it were, than the one in the arbor; and we were still sitting there when I heard midnight ring out from those clear bells of Venice which vibrate with a solemnity of their own over the lagoon and hold the air so much more than the chimes of other places. We were together more than an hour, and our interview gave, as it struck me, a great lift to my undertaking. Miss Tita accepted the situation without a protest; she had avoided me for three months, yet now she treated me almost as if these three months had made me an old friend. If I had chosen I might have inferred from this that though she had avoided me she had given a good deal of consideration to doing so. She paid no attention to the flight of time-- never worried at my keeping her so long away from her aunt. She talked freely, answering questions and asking them and not even taking advantage of certain longish pauses with which they inevitably alternated to say she thought she had better go in. It was almost as if she were waiting for something--something I might say to her--and intended to give me my opportunity. I was the more struck by this as she told me that her aunt had been less well for a good many days and in a way that was rather new. She was weaker; at moments it seemed as if she had no strength at all; yet more than ever before she wished to be left alone. That was why she had told her to come out-- not even to remain in her own room, which was alongside; she said her niece irritated her, made her nervous. She sat still for hours together, as if she were asleep; she had always done that, musing and dozing; but at such times formerly she gave at intervals some small sign of life, of interest, liking her companion to be near her with her work. Miss Tita confided to me that at present her aunt was so motionless that she sometimes feared she was dead; moreover she took hardly any food--one couldn't see what she lived on. The great thing was that she still on most days got up; the serious job was to dress her, to wheel her out of her bedroom. She clung to as many of her old habits as possible and she had always, little company as they had received for years, made a point of sitting in the parlor.
I scarcely knew what to think of all this--of Miss Tita's sudden conversion to sociability and of the strange circumstance that the more the old lady appeared to decline toward her end the less she should desire to be looked after. The story did not hang together, and I even asked myself whether it were not a trap laid for me, the result of a design to make me show my hand. I could not have told why my companions(as they could only by courtesy be called) should have this purpose-- why they should try to trip up so lucrative a lodger. At any rate I kept on my guard, so that Miss Tita should not have occasion again to ask me if I had an arriere-pensee. Poor woman, before we parted for the night my mind was at rest as to HER capacity for entertaining one.
She told me more about their affairs than I had hoped; there was no need to be prying, for it evidently drew her out simply to feel that I listened, that I cared. She ceased wondering why I cared, and at last, as she spoke of the brilliant life they had led years before, she almost chattered. It was Miss Tita who judged it brilliant; she said that when they first came to live in Venice, years and years before (I saw that her mind was essentially vague about dates and the order in which events had occurred), there was scarcely a week that they had not some visitor or did not make some delightful passeggio in the city. They had seen all the curiosities; they had even been to the Lido in a boat (she spoke as if I might think there was a way on foot); they had had a collation there, brought in three baskets and spread out on the grass. I asked her what people they had known and she said, Oh! very nice ones--the Cavaliere Bombicci and the Contessa Altemura, with whom they had had a great friendship. Also English people-- the Churtons and the Goldies and Mrs. Stock-Stock, whom they had loved dearly; she was dead and gone, poor dear. That was the case with most of their pleasant circle(this expression was Miss Tita's own), though a few were left, which was a wonder considering how they had neglected them. She mentioned the names of two or three Venetian old women; of a certain doctor, very clever, who was so kind--he came as a friend, he had really given up practice; of the avvocato Pochintesta, who wrote beautiful poems and had addressed one to her aunt. These people came to see them without fail every year, usually at the capo d'anno, and of old her aunt used to make them some little present--her aunt and she together: small things that she, Miss Tita, made herself, like paper lampshades or mats for the decanters of wine at dinner or those woolen things that in cold weather were worn on the wrists. The last few years there had not been many presents; she could not think what to make, and her aunt had lost her interest and never suggested. But the people came all the same; if the Venetians liked you once they liked you forever.
There was something affecting in the good faith of this sketch of former social glories; the picnic at the Lido had remained vivid through the ages, and poor Miss Tita evidently was of the impression that she had had a brilliant youth. She had in fact had a glimpse of the Venetian world in its gossiping, home-keeping, parsimonious, professional walks; for I observed for the first time that she had acquired by contact something of the trick of the familiar, soft-sounding, almost infantile speech of the place. I judged that she had imbibed this invertebrate dialect from the natural way the names of things and people-- mostly purely local--rose to her lips. If she knew little of what they represented she knew still less of anything else. Her aunt had drawn in--her failing interest in the table mats and lampshades was a sign of that--and she had not been able to mingle in society or to entertain it alone; so that the matter of her reminiscences struck one as an old world altogether. If she had not been so decent her references would have seemed to carry one back to the queer rococo Venice of Casanova. I found myself falling into the error of thinking of her too as one of Jeffrey Aspern's contemporaries; this came from her having so little in common with my own. It was possible, I said to myself, that she had not even heard of him; it might very well be that Juliana had not cared to lift even for her the veil that covered the temple of her youth. In this case she perhaps would not know of the existence of the papers, and I welcomed that presumption--it made me feel more safe with her-- until I remembered that we had believed the letter of disavowal received by Cumnor to be in the handwriting of the niece. If it had been dictated to her she had of course to know what it was about; yet after all the effect of it was to repudiate the idea of any connection with the poet. I held it probable at all events that Miss Tita had not read a word of his poetry. Moreover if, with her companion, she had always escaped the interviewer there was little occasion for her having got it into her head that people were "after" the letters. People had not been after them, inasmuch as they had not heard of them; and Cumnor's fruitless feeler would have been a solitary accident.
When midnight sounded Miss Tita got up; but she stopped at the door of the house only after she had wandered two or three times with me round the garden. "When shall I see you again?" I asked before she went in; to which she replied with promptness that she should like to come out the next night. She added however that she should not come--she was so far from doing everything she liked.
"You might do a few things that I like," I said with a sigh.
"Oh, you--I don't believe you!" she murmured at this, looking at me with her simple solemnity.
"Because I don't understand you."
"That is just the sort of occasion to have faith." I could not say more, though I should have liked to, as I saw that I only mystified her; for I had no wish to have it on my conscience that I might pass for having made love to her. Nothing less should I have seemed to do had I continued to beg a lady to "believe in me" in an Italian garden on a midsummer night. There was some merit in my scruples, for Miss Tita lingered and lingered: I perceived that she felt that she should not really soon come down again and wished therefore to protract the present. She insisted too on making the talk between us personal to ourselves; and altogether her behavior was such as would have been possible only to a completely innocent woman.
"I shall like the flowers better now that I know they are also meant for me."
"How could you have doubted it? If you will tell me the kind you like best I will send a double lot of them."
"Oh, I like them all best!" Then she went on, familiarly: "Shall you study-- shall you read and write--when you go up to your rooms?"
"I don't do that at night, at this season. The lamplight brings in the animals."
"You might have known that when you came."
"And in winter do you work at night?"
"I read a good deal, but I don't often write." She listened as if these details had a rare interest, and suddenly a temptation quite at variance with the prudence I had been teaching myself associated itself with her plain, mild face. Ah yes, she was safe and I could make her safer! It seemed to me from one moment to another that I could not wait longer--that I really must take a sounding. So I went on: "In general before I go to sleep--very often in bed(it's a bad habit, but I confess to it), I read some great poet. In nine cases out of ten it's a volume of Jeffrey Aspern."
I watched her well as I pronounced that name but I saw nothing wonderful. Why should I indeed--was not Jeffrey Aspern the property of the human race?
"Oh, we read him--we HAVE read him," she quietly replied.
"He is my poet of poets--I know him almost by heart."
For an instant Miss Tita hesitated; then her sociability was too much for her.
"Oh, by heart--that's nothing!" she murmured, smiling. "My aunt used to know him--to know him"--she paused an instant and I wondered what she was going to say--"to know him as a visitor."
"As a visitor?" I repeated, staring.
"He used to call on her and take her out."
I continued to stare. "My dear lady, he died a hundred years ago!"
"Well," she said mirthfully, "my aunt is a hundred and fifty."
"Mercy on us!" I exclaimed; "why didn't you tell me before? I should like so to ask her about him."
"She wouldn't care for that--she wouldn't tell you," Miss Tita replied.
"I don't care what she cares for! She MUST tell me-- it's not a chance to be lost."
"Oh, you should have come twenty years ago: then she still talked about him."
"And what did she say?" I asked eagerly.
"I don't know--that he liked her immensely."
"And she--didn't she like him?"
"She said he was a god." Miss Tita gave me this information flatly, without expression; her tone might have made it a piece of trivial gossip. But it stirred me deeply as she dropped the words into the summer night; it seemed such a direct testimony.
"Fancy, fancy!" I murmured. And then, "Tell me this, please--has she got a portrait of him? They are distressingly rare."
"A portrait? I don't know," said Miss Tita; and now there was discomfiture in her face. "Well, good night!" she added; and she turned into the house.
I accompanied her into the wide, dusky, stone-paved passage which on the ground floor corresponded with our grand sala. It opened at one end into the garden, at the other upon the canal, and was lighted now only by the small lamp that was always left for me to take up as I went to bed. An extinguished candle which Miss Tita apparently had brought down with her stood on the same table with it. "Good night, good night!" I replied, keeping beside her as she went to get her light. "Surely you would know, shouldn't you, if she had one?"
"If she had what?" the poor lady asked, looking at me queerly over the flame of her candle.
"A portrait of the god. I don't know what I wouldn't give to see it."
"I don't know what she has got. She keeps her things locked up." And Miss Tita went away, toward the staircase, with the sense evidently that she had said too much.
I let her go--I wished not to frighten her--and I contented myself with remarking that Miss Bordereau would not have locked up such a glorious possession as that--a thing a person would be proud of and hang up in a prominent place on the parlor wall. Therefore of course she had not any portrait. Miss Tita made no direct answer to this and, candle in hand, with her back to me, ascended two or three stairs. Then she stopped short and turned round, looking at me across the dusky space.
"Do you write--do you write?" There was a shake in her voice-- she could scarcely bring out what she wanted to ask.
"Do I write? Oh, don't speak of my writing on the same day with Aspern's!"
"Do you write about HIM--do you pry into his life?"
"Ah, that's your aunt's question; it can't be yours!" I said, in a tone of slightly wounded sensibility.
"All the more reason then that you should answer it. Do you, please?"
I thought I had allowed for the falsehoods I should have to tell; but I found that in fact when it came to the point I had not. Besides, now that I had an opening there was a kind of relief in being frank. Lastly (it was perhaps fanciful, even fatuous), I guessed that Miss Tita personally would not in the last resort be less my friend. So after a moment's hesitation I answered, "Yes, I have written about him and I am looking for more material. In heaven's name have you got any?"
"Santo Dio!" she exclaimed, without heeding my question; and she hurried upstairs and out of sight. I might count upon her in the last resort, but for the present she was visibly alarmed. The proof of it was that she began to hide again, so that for a fortnight I never beheld her. I found my patience ebbing and after four or five days of this I told the gardener to stop the flowers.


text:
Comments about the soundtrack for Star Wars: Attack of the Clones (John Williams)
Re: What if John Williams dies before Episode III?
• Posted by: D. Davis
• Date: Tuesday, April 23, 2002, at 11:57 a.m.
• IP Address: pcp742114pcs.reston01.va.comcast.net
• In Response to: Re: What if John Williams dies before Episode ... (bondo321)
> ..............JAMES HORNER????? Don't get me wrong, I like the guys works
> (Aliens, Star Trek 2, The Perfect Storm), but he is FAR from the best
> choice. His style is completely different from Williams, and that's
> exactly what the Star Wars Saga would NOT need. If anyone, it should go to
> Joel McNeely or Michael Giacchino.
Regardless of whether James is the best choice of not, George Lucas has mentioned publically that he admire's Horner's work and would most certainly hire him if John Williams wasn't around. I do like most of Horner's original work, and I think that it would be interesting to hear his musical take on Star Wars. But besides those points, John is a good friend of my family and a nice man. I talked to him and his wife Samantha few months ago at the E.T premier and he looks great for a man of 70.
I certainly hope through the grace of God that he is still with us in November 2004-March 05 to complete his six wonderful and enchanting masterpieces.
• What if John Williams dies before Episode III? (42211 views)
Richard Crannix - Wednesday, March 20, 2002, at 10:26 a.m.
Re: What if John Williams dies before Episode III? (26692 views)
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From beyond the grave... (40487 views)
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Minatar12 - Monday, April 29, 2002, at 1:57 p.m.
The Kong - Wednesday, March 27, 2002, at 9:10 a.m.
Marc - Wednesday, March 27, 2002, at 6:26 a.m.
Andrew - Monday, March 25, 2002, at 2:53 p.m.
Carl the Newbie - Tuesday, April 16, 2002, at 6:40 p.m.
Eric - Tuesday, March 26, 2002, at 9:15 p.m.
Tomek - Saturday, March 23, 2002, at 12:48 p.m.
LORD_OF_THE_FUNK_REVISITED - Tuesday, April 16, 2002, at 5:21 p.m.
Tomek - Thursday, April 18, 2002, at 6:03 p.m.
Tomek - Wednesday, April 3, 2002, at 1:00 p.m.
Some Guy - Wednesday, March 27, 2002, at 4:19 p.m.
Kinsey - Wednesday, March 20, 2002, at 4:59 p.m.
Kevin Bradley - Saturday, March 30, 2002, at 9:30 p.m.
bondo321 - Sunday, March 31, 2002, at 10:59 a.m.
D. Davis - Tuesday, April 23, 2002, at 11:57 a.m.
Allard Vuyk - Wednesday, April 24, 2002, at 6:04 a.m.
Nick Teng - Thursday, April 11, 2002, at 6:52 a.m.
bondo321 - Thursday, April 11, 2002, at 1:05 p.m.
Don Smith - Wednesday, April 17, 2002, at 3:11 p.m.
Mark Malmstrøm - Filmmusic fan from Denmark - 18 years old ) - Tuesday, April 16, 2002, at 2:52 a.m.
Fan77 - Tuesday, April 16, 2002, at 4:56 a.m.
Ad - Friday, May 24, 2002, at 2:41 p.m.
omri wan - Friday, May 31, 2002, at 1:29 p.m.
Jerry Goldsmith is older than JW (40511 views)
Trial lawyer - Tuesday, April 16, 2002, at 9:24 a.m.
David Arnold (40087 views)
TMY - Friday, April 19, 2002, at 10:45 a.m.
Joel McNeely (40314 views)
bondo321 - Sunday, April 21, 2002, at 2:26 p.m.
Re: Joel McNeely (40180 views)
Mark - Thursday, April 25, 2002, at 3:35 p.m.
Korben - Monday, July 15, 2002, at 11:11 a.m.