Natalia Goncharova. Pochoirs
THE EXHIBITION "NATALIA GONCHAROVA. EAST AND WEST" AT THE TRETYAKOV GALLERY OFFERS AN OPPORTUNITY TO APPRECIATE NOT ONLY THE ARTIST'S FAMOUS PAINTINGS BUT ALSO HER LESSER-KNOWN GRAPHIC WORK. A VAST BODY OF THE LATTER WAS MADE USING THE POCHOIR TECHNIQUE, AND IS REPRESENTED COMPLETE WITH THE ORIGINAL SKETCHES.
The word pochoir comes from the French poche - a cut-in, a pocket - and means "stencil". It refers to a print-making method in which stencils are used to manually colour a set of prints, with the number of stencils corresponding to the variety of the colours reproduced. This technique was peculiar in enabling every reproduction to retain a sense of the original. In the 1920s Natalia Goncharova used it in creating the "Portrait Theatral", "Spring" and "Liturgy" folios, as well as for illustrating Pushkin's"The Tale of Tsar Saltan" (1921), "La vie persane" (1921, Paris) by Edwin Evans (1921) and "The Tale of Igor's Campaign" (1923). Plans may have been made to produce more folios, since the exhibition includes a series of minor pochoir sets ("Still-lifes") and separate compositions - "A Girl with Autumn Landscape in the Background", and "Three Girls. A Walk".
The Parisian artistic emigre circles went so far as to credit Goncharova with "inventing" pochoir which, of course, was not true: the same technique was used in France for rare editions with a small print-run. It became especially popular in the late-19th and early-20th centuries in connection with the phenomenon of the livre d'artiste, before Goncharova appeared. However, she had been familiar with the art of stenciling in her "Russian" years: in the early 1910s, together with Mikhail Larionov, she was absolutely absorbed in folk art in which stenciling was a common technique, used to colour the lubok (popular prints) and print fabrics. Stencils even appeared at the exhibition of popular prints organized by Mikhail Larionov in Moscow in 1913, based on his own collection (number 116-117, "A Sketch and a Stencil Plate")1.
During the preparations for the Goncharova exhibition at the Tretyakov Gallery the questions arose of how did she come to use the technique of pochoir and when were her own first pochoirs produced?
In 1919 the publishing house of Jaques Povolotzky2 "La Cible" produced a volume titled "M. Larionov. N. Gontcharova. LArt Decoratif Theatral Moderne". It included a number of pochoir pieces by Goncharova, such as "Costume Espagnole" (the sketch for which is in the current exhibition). The publication was timed for the similarly-titled exhibitions held at the galleries Savage (1918) and Barba-sange (1919), where it served as a catalogue. The introduction was dedicated to the work of the artists in the field of stage design. Pochoir (where gouache was applied) was an ideal way to reproduce draft colour drawings without corrupting the original pallete.
It is hard to tell whose idea it was to turn to pochoir - whether it came from Larionov and Goncharova remembering the "ancient" means of colour print-making, or from Povolotzky who was well versed in French publishing practices. The "improvised" pochoir plates made with several layers of oil paper in the Tretyakov Gallery collection are likely to have been assembled by the artists themselves. In a letter to Larionov of 12 November 1919 Povolotzky confirms as much: "I entreat you, Mikhail Fyodorovich, to arrange for the signing of the folios today or tomorrow - they are deteriorating... And you are still to add some pochoirs for the luxe! Please let us complete this folio as soon as possible without having to go back to it again. Regards from yours truly, Jaques Povolotzky."3 The paper plates were too fragile to make a greater number of copies and subsequently had to be replaced by another material, as well as engaging a skilled craftsman for cutting the necessary stencils.
The main reason for resorting to pochoirs was the need for quality reproduction of coloured artwork. While working on the volume for Povolotzky, Goncharova and Larionov promised a few drawings for the new magazine "Aujourd'hui" ("Today"). As suggested in a letter, pochoir prints of coloured artwork were actually cheaper than a full-page colour reproduction. Arguments to that effect are to be found in a fragment of correspondence sent by Claude Autant-Lara4 to Goncharova on 15 October 1918: "Oh, Madam, you cannot imagine how upset I was not being able to see you last time in Paris... You have a gift of colour that you use with such delicious proficiency. I would like to take advantage of it in reproducing two of your coloured pieces. Unfortunately the price I am asked for this is ridiculously prohibitive and forces one to make stencils. Could you lend me some?"5
Pochoirs however, like any hand-crafted items, turned out to be quite expensive. Autant-Lara complained in a letter to Gon-charova: "I promise to provide you with colour samples for your pochoir. They are necessary and I will write to you shortly about this. This page of yours though will cost me dearly! But never mind, I will have it printed."6
It was long assumed that Goncharova first attempted pochoir in 1915, the date attributed to the "Portrait Theatral" and "Liturgy". That dating by the author (indicated on the covers) appears somewhat puzzling: it was hard to imagine such portfolios printed in a considerable number of copies7 (and "Liturgy" was a large-scale edition) could have been accomplished in Lausanne (as the publishing details for both volumes suggest). At the time the artists were living in a hotel and busy preparing for Diaghilev's "Ballets Russes", working on stage designs, attending rehearsals and concerts. And why did the artist, in the middle of working on the stage production of "Liturgy" and sketching the costumes, need to reproduce them in a published folio? The same questions applied to the "Portrait Theatral", dated 1915-1916. One copy of that edition was supplied with a list of names suggesting that the portraits depicted the members of Diaghilev's "Ballets Russes" in the costumes of their characters. But some of the productions listed came later than 1915-1916: "Women in High Spirits" appeared in 1917, and "The Three-cornered Hat" in 1919.
More documentation was needed in order to firmly establish or change the dating. We tried to follow the pochoirs through history of their exhibitions: as a rule the artists would have displayed their new pieces as soon as they were complete. In the graphics section listings of the exhibition at the Barbasange Gallery (1919) along with the stage designs, under numbers 181-190, there are "Portraits of Male and Female Dancers" (nine pieces whereas "Portrait Theatral" consisted of 14 pochoirs). There is no indication as to the technique used. Among the compositions in a wide range of media, including paintings, stage designs and graphics, representing the work of both artists at "The Gontcharova-Larionov Exhibition" at New York's Kingore Gallery in 1922 six theatrical portraits8 are listed as watercolours, dated Madrid 1916, but the sizes do not match the pochoir volumes either. It is likely that in 1922 only the original watercolours depicting the actors existed.
There were also a few watercolour landscapes on the list dated 1918. The landscape series apparently went back to the 1910s when Goncharova and Larionov spent more than half a year in the French countryside at an estate (or rather an agricultural commune) in Pivotan-par-Garchy growing vegetables. The 1924 list of Goncharova's work mentions the folio "Spring. Constructivist Landscapes in Watercolour and Gouache" that were later reproduced as pochoirs. The Tretyakov Gallery collection preserves the zinc plates for that series, and examples of them are on display at the current exhibition, providing a unique opportunity to view the stencils, compare them with the impressions made from them, and follow the actual process by which a pochoir was created.
The department of manuscripts at the Tretyakov Gallery includes the correspondence with one "Boris", who was apparently a craftsman specialising in pochoir plates and folio cases. In a letter to Goncharova of September 29 1926 he wrote: "Dear Natalia
Sergeevna... I am now finishing the series of'Portrait Theatral', that is making tracing paper copies, cutting cliches and at the same time checking them by printing one copy of each portrait. I have a different method now - transferring tracing-paper copy straight to zinc (using blueprint paper) and breaking the palette on zinc with reference to the original. Of course this is more demanding than pasting but the accuracy with which the cliches are cut is way better than it used to be. There are four portraits left before I can go on to another series of 14 pieces. They will be hardly complete when you come, but even if they are, I will be cutting two pieces of M[ikhail] F[yodorovich] and leave Ori's [Orest Rosenfeld] series until the very end. Warm greetings to Mikhail Fyodorovich and all the best. Yours, Boris."9
All of the above suggests that a series of small-sized theatrical watercolour portraits (or pencil drawings for them) was likely commenced in 1915-1916. Initially it could have included the portraits not only of the ballet dancers but also of other individuals connected to theatre. There is, for example, in a private collection, a "Portrait of Alexander Tairov", with whom Goncharova had worked in 1915 and whom she later met in her Parisian years when his Chamber Theatre was on tour there. Hence the dating"1915-1916" on the cover of "Portrait Theatral" portfolio referring to the beginning of the project. Whereas the actual pochoir folios were completed around 1926. Perhaps the impulse to draw the ballet dancers came when Goncharova returned to work for Diaghilev after a three year gap - the ballet "The Firebird", redesigned by her, was first performed at the Lyceum Theatre in London on 25 November 1926 .
It was the same with the "Liturgy" portfolio. In 1915-1916 Diaghilev commissioned stage designs for the production from Gon-charova, who created multiple pencil drawings which she then coloured, applying gouache and using gold- and silver-leaf collage. When it turned out that the ballet was not going to be staged and the opportunity arose to obtain "professional" stencil plates made of metallic foil (zinc), the artist reproduced her compositions in the pochoir technique, slightly changing some of the pieces.
The story is corroborated by a letter of 1926 written by Larion-ov to the Japanese artist Ivata: "Dear friend Ivata. Madame Gon-charova has already posted a month ago two watercolours ('Curtain' and'Landscape') to your address in Tokyo. We have witnessed a carton prepared and watercolours for Monsieur Fukuhara packed. There is also the drawing of the Apostle which Goncharova did as a costume-design sketch for 'Liturgy'. It is a hand-coloured stencil print signed by Goncharova that is intended for you...
"As far as the Apostle drawing is concerned, we ask that you would be so kind as to keep it for yourself. If you have a chance I beg you to show it to Monsieur Fukuhara and explain that this will soon appear as part of the 'Liturgy' portfolio by Goncharova. The folio will consist of 17 or 19 coloured sketches signed by the author. It will be an edition of only 50 copies. The print drawings will be drafted by hand in gouache and watercolour to fit the size of the originals. Everything will be done by hand, as in the original. Every print for this edition is going to cost quite a lot so the retail price for the best ones is set at 3,000 francs and two London museums have already paid 3,000 for some less well-executed ones which are already on loan. Perhaps Monsieur Fukuhara would be interested in obtaining this edition."10
It was also in 1926 that pochoirs first appeared in an exhibition. Under number 45 in the catalogue of Goncharova's solo show at the Claridge gallery the text reads: "'Espagnole'. Pochoir, signed by the artist."11 This pochoir, copies of which are at the Tretyakov Gallery, is based on the painting "Head of a Spanish Woman" (1916). That the pochoir technique should be so needed can be explained by the absence of new commissions from Sergei Diaghilev whose Ballets Russes had for a long time been a regular source of income for Larionov and Goncharova. The Pochoirs were on sale, hence, apparently, the need to consider making additional copies.
The Claridge gallery secretary B. Scruton wrote to Goncharova on June 6 1926: "Dear Madame, M. Proper instructed me to beg your response as a matter of urgency whether it is possible if need be to replicate the pochoirs. Please let us know as soon as you can. With great respect, B. Scruton (secretary)."12
In 1929 Goncharova's "Liturgy", along with Larionov's collection of pochoirs "Voyage en Turquie", was on display at the Experiment Galleries in London and Cambridge, as were "Portrait Theatral", as mentioned by Sergey Osyakovsky in his letter to Larionov of July 2 1930: "Dear Mikhail Fyodorovich, I am hugely to blame and awfully sorry. There was so much to do. Apart from London, we have a mini "Experiment Gallery" in Cambridge where, by the way, your 'Voyage en Turquie' and 'Liturgy' by Natalia Sergeevna are still being exhibited. Next Sunday (the 6th) I am travelling to close the Cambridge gallery as it isn't worth the while now but it will be reopened in October. I shall write to the agents, 'James Bourlet Sons Ltd', this very day and ask them to come and collect your 'Jester', Nat. Serg. decor. and three sketches by 'Put Zhivopisi' (The Way of Painting). 'Portrait Theatral', though we haven't yet sold any, I'd rather keep if you don't mind."13
In 1926-1927 Goncharova became fully aware of how the pochoir technique was an ideal method of reproducing colour sketches, gouaches and paintings. The paintings "Espagnole" ("Head of a Spanish Woman") and "Bouquet", known from a photograph in the artists' archive, were reproduced as pochoirs under the same titles. The "Bird" plate from the "Still-lifes" series of pochoirs can be traced directly to the small "Bird" painting.
The story behind the reproductions of the larger compositions is even more engaging. Unable to produce large-scale prints and apparently unwilling at the same time to turn monumental panels into "coloured postcards" Goncharova decided to copy them in parts. In 1924 she had already tried experimenting that way with the "Bathers" (1922, Tretyakov Gallery) triptych, dividing it into parts and reproducing each in turn as posters for the "Bal des Artistes". A different "Bathers" panel (from the Sepherot Foundation) was also fragmented in the same way by the artist. One of those fragments was reproduced as a pochoir, "Three Girls. A Walk", which is part of the current exhibition.
The book illustrations that utilized the pochoir technique as a certain tribute to the livre d'artiste tradition first introduced in Russia by Goncharova and Larionov remain beyond the scope of this article. There are sheets of fabric prints in a private collection which might have been intended as pochoir sketches, too. But research has made clear that, every time Goncharova turned to a new technique it provided an excuse for artistic experimentation and innovative creative practice.
- An exhibition of original icons and popular prints organized by Mikhail Larionov. Moscow, 1913. P. 17.
- Jaques Povolotzky (1881-1945) was the owner of this Russian publishing house in Paris, and an acquaintance of Larionov and Goncharova.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 2527.
- Claude Autant-Lara (1901-2000), a French film director.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1258.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1260.
- Information as to the exact print-run is missing. In the quoted letter to Ivata concerning the"Liturgy" volume Larionov mentioned 50 copies. But there must have been more: the Tretyakov Gallery collection alone holds more than 100 sheets depicting Judas.
- Originals are part of the collection of the Centre national d'art et de culture Georg-es-Pompidou in Paris.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1114.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 544.
- Exhibition of paintings by Natalia Goncharova at the Claridge Gallery. June 10-July 3 1926.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 1702.
- Tretyakov Gallery, Department of Manuscripts, photo 180, archived unit 7438.


Patroness of Philosophers, Lawyers, Librarians, Secretaries and Nurses.
Believed to be a noblewoman of Alexandria, she preferred to study philosophy instead of getting married. Upon seeing a painting of the Madonna and Child, she converted to Christianity. She denounced the Emperor Maxeintius for persecuting the Christians. He in return, had fifty of her converts burned. He spared her life, but only if she would have a royal marriage. Catherine refused and was to be stretched upon a spiked wheel. After her torture began, angels are said to have shattered the wheel. She was finally beheaded. She is one of the most beloved Saints in Christendom. She inspired Joan of Arc.
"Glorious St. Catherine, woman of conviction, give me strength and courage to fight off the temptation of this world and of my mind, and to serve God wholeheartedly in all of my endeavors."
Specific Sizes - Width x Height
Pocket - 1 1/2" x 3"
Ornament - 2 1/2" x 5"
Small - 3 1/2" x 7"
Large - 4 1/2" x 10 1/2"
You might also like


After the anesthesia has taken effect, a tourniquet or blood pressure cuff will be placed on your arm to temporarily stop the blood flow to your hand and wrist. This allows your doctor to see the surgical area clearly.
To help reduce the chance of infection, the area will be scrubbed with a special soap, and you will be covered with sterile sheets. The only area exposed will be your forearm and hand.
Your doctor will then begin by making an incision or cut on the palm side of your wrist that is approximately one inch long. Depending on the specific technique used, a second small incision may be made in your hand.
An instrument is then inserted into the carpal tunnel to guide the endoscope into place. The endoscope is a long, thin tube, about the size of a writing pen. It is similar to a camera in that it allows your doctor to see inside your wrist by projecting the image onto a TV monitor. It can also take pictures and videotape the procedure. Once inside the carpal tunnel, your surgeon can look at the carpal ligament, or the "ceiling" of the carpal tunnel on a video screen.
After proper positioning of the endoscope away from the nerves and arteries, the carpal ligament is cut using a special device that is attached to the endoscope. The surgeon is able to confirm that the entire ligament is cut by watching it on the video screen. The wound may then be cleaned and closed with stitches. A bandage and splint are placed on the hand and forearm.
At the end of the procedure you will be awakened while still in the operating room and then transported to recovery for a brief period of wake up time afterwards.


As a child I loved watching "Mr. Rogers' Neighborhood" on PBS. He reminded me so much of Mrs. Carpenter, the older widow who lived next door. I adored her. We raked leaves together, she took me to Sunday School, we watched Jeopardy together (she knew ALL the answers), and together we would weekly walk to the library for new books- she was lovely. Mr. Rogers had the same sort of kindness and interest in my learning. His smile was sincere, he was thoughtful in his choice of words, his voice was calming, his words were genuine, and it felt like he was talking directly to me, as if I were the only child in the world. I was special. I believed I could learn and do new things. I enjoyed his stories and field trips around his neighborhood. He dedicated his life to educating children and had a lot to say about how they learn.
"Play is often talked about as if it were a relief from serious learning. But for children play is serious learning.
Play is really the work of childhood."
Play is really the work of childhood."
- Fred Rogers
Is play truly learning? I sure do think so! Preschoolers are a SUPER busy bunch. Younger students work through art projects much faster than older students do. Their focus doesn't last as long, the concepts aren't as broad, and the work isn't as skilled yet. We're getting there though. We're laying the foundation. We're figuring things out. A big part of figuring things out is exploration. Introduction to new things and seeing what you can do with them.
So how does this apply to art class? While we do work on structured projects, like printmaking and mixing colors, sometimes between those projects we explore a bit through art centers. As a child I looked forward to visiting my grandmother because she had large colorful cardboard building blocks and Mr.Potato Heads. My cousins, siblings, and I would build walls, forts, towers. We'd arrange silly characters with Mr.Potato head parts, like little Frankensteins! We were entertained for hours because the possibilities seemed endless. We were creatively problem solving. We were inventors, architects, doctors. Thinking skills! Problem solving! It's beautiful stuff...
I recently read an article about the importance of art and creative literacy (that's a tough thing to define, but it involves generating original ideas and seeing possibilities and potential). It's worth the time to read it. My favorite part of the article stated that even though we've long had the technology to simply snap pictures of life it hasn't squashed our desire and need for painting, for creating ART. Why not? Well...making art is not about taking selfies and everyday photos, it's about the sharing of ideas and viewpoints, it's communication. Art provides opportunities for even our youngest artists to share their ideas, their feelings, their viewpoints. I'm often amazed by what they come up with! So before recycling an art project that's sent home, ask about what they've made and how they feel about it. They're often much more thoughtful than just scribbles. There might be a story or an idea there that they'd love to share.
In addition to the cardboard building blocks of my youth, I took some newer building materials that my children have outgrown to school for kids to explore. They piece together people, towers, cars, flowers, light sabers, and all kinds of other neat-o things they love to tell you all about! They share supplies. They encourage each other. They swap stories and ideas.
Kids love stencils too! I teach students to use shapes as the parts in their drawings and lines for details, but stencils help them learn how to draw shapes they don't know how to draw yet and they add details to them to transform them into something new. They get to choose. Maybe this is a mountain? If I were to ask I wouldn't say "Hey, is that a mountain?!" or "Nice mountain!" because that might not be what it is! As an adult I'm totally deflated sometimes if people don't see my vision when I think it's super obvious. It plants seeds of doubt, and that can be a real bummer! Nobody likes feeling lousy. Instead I'd ask "Wow, what are you working on?", or "Can you tell me about your picture?". Even little artists can be offended and discouraged. My job is to encourage them to keep thinking, keep doing, keep trying. They're little engines that CAN!
Clay is a favorite for students of ALL ages! Modeling clay works those hand and finger muscles!
We always try to make it a beautiful day in the art room....


… to hold a moment, how to record something so completely, that all who see [the picture of it] will relive an equivalent of what has been expressed. ~Alfred Stieglitz (cited: http://www.metmuseum.org)
The theory of equivalence was inspired by Wassily Kandinsky’s belief that colors, shapes, and lines reflect the inner, often emotive “vibrations of the soul.” In his cloud photographs, which he termed Equivalents, Stieglitz emphasized pure abstraction, adhering to the modern ideas of equivalence, holding that abstract forms, lines, and colors could represent corresponding inner states, emotions and ideas.
The following are excerpts from Equivalence: The Perennial Trend: Minor White, PSA Journal, Vol. 29, No 7, pp 17-21, 1963 (cited: http://www.johnpaulcaponigro.com)
A change of perspective is a change in state. Jean Piaget reminds us that, “What we see changes what we know. What we know changes what we see.” Perception changes reality… The more conscious the perception the stronger the change. Furthermore, the quality of consciousness one engages perception with influences what is perceived, what is produced, how it is received and the consequences that has. Acting on what one observes, choosing and sustaining one thing / quality amid many others, reinforces that state of being and this is particularly true if during observation one creates something tangible and durable and never more true if multiple related works are created. Often, during the process of manifestation perception continues to change, further extending this process of revelation and transformation.
The visible can be used to reveal the invisible; the external can be used to reveal the internal. ~Alfred Stieglitz
Minor White remarked, “One should photograph things not only for what they are but also for what else they are.” and “Equivalence is a function, not a thing.” He did not mean to suggest that equivalence was merely a rhetorical device. Equivalence is more than a rhetorical device, not a simile that suggests shared commonalities (this is like that), not a metaphor that observes shared qualities through the power of transformation (this is that), but a process inclusive and transcendent of both. Like a simile its power starts with the recognition of shared qualities and like a metaphor its power lies in transformation, but an equivalent transcends both through a heightened state of self-awareness, even to the point of transforming the self through its accompanying effects of clarity and commitment.
Equivalence embraces and elevates the debate over whether photographs are windows (onto the world) or mirrors (into the soul) and whether they are taken (through distant observation, objective to varying degrees) or made (through immediate interaction, subjective to varying degrees), illuminating many more levels of an evolving process. Through equivalence the photographic object created becomes a reflection of both the external things it represents and the internal states of its creator. This reflective capacity is extended to the viewers, who re-experience this shared process in their own ways.
Resonance is a consequence of equivalence. What we create can transform us. We then become co-creators, creating not only things and ideas but selves. What we create can also transform others, triggering cascades of sympathetic vibrations, if we imbue our creations with a persistent resonance, brought on by intensity, clarity and connection (connection to subject, medium, self, and others). Through the experience of art, the powers of perception and transformation can be awakened, in both the ones who create directly and the ones who [perceive] indirectly.
Stieglitz set a shining example for us all. He demonstrated that the full power of our photographs lies not in special subjects or moments but in what we bring to the picture, which can be much more than technical skill, compositional prowess, and cultural awareness. Through photography we can simultaneously bear witness to things / events, affirm our connection / participation with them (even if only as observers, no small thing), and clarify our understanding / interpretation of the confluence of everything that is brought to bear in each moment and the continuing resonances they produce. More than an intellectual interpretation or emotional expression, this is a process of holistic integration.
The photograph can be much more than a material trace of another material; it can even be much more than a trace of light and time; it can also be a trace of spirit, the energetic confluence of body, mind, and emotion, either single or multiple.
White reminds us that this process of self-realization is open to everyone, “With the theory of Equivalence, photographers everywhere are given a way of learning to use the camera in relation to the mind, heart, viscera and spirit of human beings. The perennial trend has barely been started in photography.” Though all photographers do it, not all photographers do it with equal clarity or intensity. Regardless of what level they engage this process, whenever photographers break through to new levels of consciousness the results are transformative for the photographer and the viewer and even the viewed, sometimes subtly and sometimes dramatically is a form of contemplative photography that asks us to see our world in a new way. In some ways it seems very simple, but it is not always easy.


Deniece Millet December 1, 2019 School Worksheets
A middle school aged child is starting to see the world outside of themselves and then has the chore of figuring out where they fit into that world. This is a good time to introduce curriculum that helps them learn about themselves and how their bodies work, a solid health curriculum works great during these ages. We also expanded on this theme with a module of sex education that we approved of. We had each of our children read a book by Josh Harris called “I Kissed Dating Good-bye.”
Traditionally, every student was required to attend classes in a physical school or college before he or she could gain an academic qualification. In today’s fast changing business world, many things have been changed due to technology advancement. Students can now choose to complete their higher education through online study. They are given more freedom and flexibility to manage both study and work at the same time. Let me share with you some practical steps which you can apply in order to earn a high school diploma at home successfully. Choose the online program which suits you most. Ask yourself honestly which area you are interested in. It is no point for you to force yourself to choose certain courses which you dislike. Choosing the right program is indeed essential as it will determine your career in the near future. After making your decision on the course, you should then proceed to select a school which is well-known in providing such program.
Reveal to the child the wonderful thing that she sees inside a simple and understandable manner. That’s actually how parents should teach their children. Introduce the entire world to the child slowly so the child would better appreciate the world they are residing in.Homeschooling Education for Preschool and Kindergarten Homeschooling education has become accepted and adapted by many families across the globe. Our home is really a good training ground to begin teaching kids principles that they can certainly use within life. Many parents prefer to have their young child educated in your house because they feel that with online education resources and homeschool programs, they are able to supervise the youngster better.The nice thing about homeschooling education, the curriculum targets the individual learning needs of the child. The best thing about home school curriculum could be the flexibility from the schedule. It allows the little one to spend additional time with their family.
One of the biggest benefits of home schooling is that if your child needs more time to master a specific skill or concept, you have the ability to let them master it at their own pace, rather than being dictated by the school board. With home schooling, your child sets their own pace of learning and you are able to give them far more individual attention than a teacher could with 24 other children to teach. Your child will also benefit from the fact that they aren’t the subject of ridicule from other children if they don’t understand something as fast as others.
When you home school your child, competition is limited to your child being competitive with only themselves’. Your child’s confidence is not damaged. You know your child best and can therefore plan the curriculum to best awaken your child’s interest in any subject. You also can determine how each day is planned. If you have a tough science lesson, then you can follow that with a fun activity that incorporates language arts, such as reading an interesting story, or cooking to teach a math concept. Since you know your child best, you know what works best for them as a setting for learning. Some children learn more from reading, others from hands-on, visual activities.
The government and state send out standardized tests that home schooled children are still required to take. Many “traditional” schools set days aside for these tests each year. Before administering the tests at home, check with your local school board to make sure that your child isn’t required sit in a school classroom first. In some areas, there are days set aside for local home schooled children to take the tests together. Use the information available through your local school board to plan your approach to yearly standardized tests.
Tag Cloudkindergarten writing prompts the alphabet worksheets for kindergarten pe lesson plans for kindergarten counting sheets for preschoolers diversity lesson plans for kindergarten art lesson plans for kids physical education for kindergarten measurement lesson plan for kindergarten kindness activities for kindergarten number sheets for kindergarten kindergarten drawing pre k literacy centers pumpkin activities for kindergarten language activities for kindergarten kindergarten writing worksheets PDF kindergarten pe counting numbers lesson plans kindergarten esl lessons for kindergarten fun handwriting worksheets kindergarten health lesson plans number talks kindergarten project based learning ideas for kindergarten kindergarten enrichment pre k tracing sheets pre k assessment sheet montessori activities for kindergarten kindergarten pe lessons kindergarten tutoring ideas kindergarten tracing letters coding lesson plans for kindergarten phonics activities for kindergarten free math centers kindergarten gym activities for kindergarten apple lesson plans kindergarten fun activities for kindergarten fun science experiments for kindergarten science activities for kindergarten centers kindergarten journal prompts teaching money to kindergarten morning message kindergarten play based kindergarten tracing pages for kindergarten number 3 worksheets for preschool kindergarten tutoring worksheets kindergarten coloring pages kindergarten art kindergarten social skills curriculum pe activities for kindergarten living and nonliving things kindergarten kindness lesson plans for kindergarten preschool learning for kids project based learning kindergarten literacy activities for kindergarten kindergarten after school program color mixing worksheet preschool kindergarten read aloud books and activities pre k circle time technology lesson plans for kindergarten


Cheap Report Writing Service
IsEssay combines theories from classroom learning with application in real life situations.
Professional Report Writing Help
Reports are usually different from essays because they discuss a topic in a well-structured format that is easy to follow. An essay, on the other hand, defends the writer’s point of view on a topic and does not necessarily have to feature headings. Reports are divided into sections and subsections. They can be technical, academic, or business-related and contain recommendations for specific actions.
Reports present facts about a situation process or project. It also defines and analyzes the issue at hand. They communicate observations to a specific audience in a clear and concise style.
Planning and Preparing for Your Report
This crucial step should precede the writing process. You are supposed to identify your target audience. This enables you to tailor your report addressing that audience. You can meet the requirements of these audience members, and several questions can help you in this process. They include:
Who are the readers?
What is the objective of the report and why it is required?
What crucial information has to be in the report?
Once you are through with the identification of the report’s basics, you can commence the collection of supporting information. You then evaluate all the information and organize it first in an outline. This makes the professional report writing process easier to deal with.
Formatting your Report
If you want your report to show organization, you have to follow a specific format. The major sections of a report include:
If your report is short, the front cover can include the information you only deem necessary. It may include the author and the date of preparation
This is a summarized version of the major points, conclusions, and recommendations. It has to remain short because it presents the general overview of the report. Many people tend to read the summary and skim through the report. This demands you to include everything that is relevant to your report. You can write this section when you have finished writing the report to include everything especially the points that might be added the last minute.
The first page of your report should have an introduction, which explains the problem and informs the audience the reason for the report. Definition of terms is crucial if it was not included in the title section. Explain how the report details are arranged.
This is the main section of your report and can include jargon and technical terms from your field. It should be divided into sections each of which should have a title and subtitle. This sections also demands you to arrange your information in the order of importance
This is where everything ends. You are not supposed to use complex words or jargons because many people jump right into this section after they read the summary.
This is where you give your recommendations concerning the actions that need tobe taken. Explain these recommendations in the order of priority.
This comprises of all the information the experts in the field will encounter. It contains technical details that back your conclusions.
Presentation and Style
Your report is supposed to be concise and straightforward. This enables the audience to read and navigate easily. Write a report that readers will be able to look at and get the needed information easily. This will endure that the report has a maximum effect on the reader. Simple formatting rules can be applied to make your report easy to read. They include:
Use one type of font throughout the text of your report. You can use 12 point Times New Roman or Ariel
Use lists wherever possible to breakdown information for easy understanding. You can number or them the list of bullet points.
Use heading and subheadings throughout your report to identify different topics and make the information manageable. This adds to the organizational sense of your report.
When It Comes to Your Style of Premium Report Writing:
Maintain simplicity all through. Avoid impressing, rather, communicate t your audience. Ensure the sentences are short and to the point. Do not include too many details unless it is necessary.
Use an active voice because it makes the writing move smoothly. It also makes use of fewer words as opposed to the passive voice.
Good grammar and punctuation are crucial in your report writing style. You can read the report aloud and have someone proofread it to eliminate any possible mistakes.
Business reports writing are supposed to be well organized and easy to follow. Now your structure your report makes a lasting impression on the audience and determines if you were serious with your work or not. You can engage in the whole process and fail to impress whoever you were addressing simply because you failed to follow some rules. On the other hand, your writing skills might not be that good thereby making the report redundant.
Professional report writing is part id academic assignments that require specific skills and knowledge. If you were handed a reporting assignment, you ought to do it perfectly. If this is a problem to you, then you have the option of seeking the best and cheap report writing services from IsEssay.com.
Surely, you might have come across or heard about different custom writing companies and the myriad of writing services that they offer. You might have also utilized their services, which is a good practice since you know how it works. At IsEssay.com, we are a professional writing company that specializes in not only report writing but also in other aspects of academic writing.
If you have gathered all the relevant information that pertains to your report but you do not have the skills to complete the report in its entirety, then IsEssay.com is here to cater for that specific. Need. Our services are tailored to meet every expectation in report writing. We pride ourselves on the excellent provision of report writing services done by our esteemed writers.
Reasons to Work With Us
You always hear of students who have failed in their academic writing assignments because of poor writing skills. At IsEssay.com, we have a team of competent writers whose experience is vast enough and encompasses different aspects of academic writing. If you provide us with the details that you want to be included in your report, it will only take a moment to come up with a well-structured predict for your review. We give you an opportunity to go through the first draft of the work that we have written for you. This creates room for any revision that you might need in the report.
Our commitment to satisfactory service delivery has seen many of our clients give us positive feedback. Your report will be written in the best and simple language that avoids complexities. We are enthusiastic about report writing and offering the cheapest service to our clients.
Affordable Report Writing Services
When we talk about cheap services, one might wonder if what we offer meets the minimum requirements quality. At IsEssay.com, the affordability of our technical cheap report writing service does not mean we compromise on quality. There is no point in writing something that would disappoint the client. The rates that we have set out for our clients are inclusive enough. No client can say they are exorbitantly charged in the end. We are not looking forward to your money. What we want to achieve is total value for your money, and that is why we have made the prices affordable.
At IsEssay.com, we are a team of competent writers who are drawn from different fields. They are Ph.D. and MA degree holders. This puts them on an excellence pedestal, and this has propelled our services to greater heights. Our writers can satisfy the needs of our clients all through. We hire the best writers who understand the technicalities that come with report writing. Writers at IsEssay.com leave nothing to chance, and they capitalize on their skills to ensure that the report produced is of the highest quality. For any academic need, IsEssay.com writers are ready to engage with you once you have placed your order. Going for the most expensive service does not guarantee that you will get the best quality report writing service. It may surprise you to learn otherwise.
Round the Clock Customer Support
We have an able team that caters to your queries 24/7. The customer support base at our company has helped us in remaining ahead of our competitor’s thanks to their communication with clients. When you place an order with IsEssay.com, youare assigned a writer whom you establish contact with from the onset of your project. The communication can be through email, phone calls or via the website chatroom.
Report Writing Made Simple
Writers at IsEssay.com are the best to reach out to if you are faced with report writing difficulties. There is no point of dealing with a paper that will give endless headaches and hinder your academic excellence. At IsEssay.com, we are bound to ensure that this problem is addressed once you agree to place an order with us. We have versatility in report writing and can write whatever report that you have in mind. The major reports include:
Business reports which are used in business environments to present ideas or describe an organization or the situation in the market. They can be formal or informal.
A formal report collects and interprets data, and then present the interpretation to the audience. They are much longer and require the adequate gathering of details
Informal reports are usually short andare written as a letter or a memo
Technical reports writing are usually required by given industries or disciplines that are technical
Field reports study the field. They can be generated by faculty members and assigned to individual students or can be initiated by a group of students.
Whatever the kind of report you are dealing with; IsEssay.com will be with you every step of the way. The reports that you receive from us are developed from scratch to ensure authenticity. Once you receive your report and it becomes successful, we always request you for feedback. This enables IsEssay.com to keep track of their efforts and ensuring that the company has lived up to its standards of service excellence.
What Do We Target?
At IsEssay.com, we aim at providing the best quality report writing service to our clients when they choose to work with us. We understand that our clients have so many academic responsibilities that must be completed within the set deadlines. What you envisage is what we must achieve. This is why it is crucial to communicate everything that pertains to your report. You provide relevant instructions and details you want to include in your report. Once you do that, competent team of IsEssay.com writers will know what to do.
Editing and Proofreading
Not only do we write your reports but also we offer proofreading and editing services. Once you have placed a report writing order with us, we strive to ensure that everything we written is plagiarism free. We also ensure that the report adheres to the rules of good grammar, punctuation, and spelling.
Our team of editors is tasked with this responsibility to ensure that anything that goes to our clients is perfectly done. We also ensure that confidentiality of our clients is protected. The non-disclosure agreement signed after the requirements for our services does not allow us to divulge any information that relates to our client to a third party. It also prevents us from presenting the report to another client.
We are committed to ensuring high stands of academic excellence are maintained. We compose enthralling contents for our client’s project from scratch.
Outstanding College Admission Essay
Literature Review Paper
Writing Help For Term Papers
Dissertation Writing Service


BIDDINGTON'S GALLERY & SHOPPING BIDDINGTON'S VALUATIONS & APPRAISALS
(pa teen' a)
What is it?
As a general term, patina refers to the change in an object's surface resulting from natural aging. (Patina preservation is the reason to avoid all but very superficial cleaning of old objects.) In bronze sculpture, patina specifically refers to the surface of the bronze itself often altered by the sculptor with acid or the application of other chemicals.
Frances Jetter sculpture Dress
Bronze with 24K Gold Patina
Why does patina matter on a bronze?
Artfully applied, a surface patina highlights the modeling of the bronze and therefore enhances its beauty and value. Famed British 20th century sculptor Henry Moore once said that he used a patina the opposite of the way a woman used face powder: to amplify contours rather than to minimize them.
Are patinas always an enhancement to a sculpture?
Alas, no. One has only to compare patinas on Rodin bronzes. Look through the patinas of the fine photos in this Boston College Online Rodin Exhibition, then study some of the newer Rodin bronzes on the auction block. The patinas on these later metal re-casts are often times as subtle as black shoe polish.
What about colorful patinas?
A light touch is key: Some sculptors of the American West employ tinted highlights, and certain contemporary bronze sculptors use high color. Unless these accents truly reinforce the intent and plasticity of the piece, color patinas can degrade into kitsch.
View contemporary bronze sculpture by
Nancy Azara, Carol Bruns, Harry Gordon, and Frances Jetter in
BIDDINGTON'S Contemporary Art Gallery
Carol Bruns sculpture Lion
Bronze with Golden Brown Patina
More PEDIGREE & PROVENANCE:
P&P: Abstract Expressionism
P&P: Ash Can School
P&P: bronze patina
P&P: Colorfield painting
P&P: Greek columns
P&P: Conceptual Art
P&P: depression glass
P&P: Iconography & Iconology
P&P: New Image painting
P&P: Newcomb pottery
P&P: Pop Art
ABOUT THIS FEATURE
In the art & antiques world, experts bandy about arcane words as though they were part of everyone's standard vocabulary. To a fledgling collector, this practice can be maddening. In PEDIGREE & PROVENANCE, BIDDINGTON'S picks a word or phrase and gives it a good, hard going over: defining it, explaining it and showing how to use it.
Glance regularly at PEDIGREE & PROVENANCE, and soon you'll be able to toss those obscure phrases back at the experts with confidence and agility and be fully prepared to bid on items at BIDDINGTON'S upmarket, online art & antiques auctions.
JAKE BIDDINGTON'S INVESTING--advice on art & antiques collecting
BIDDINGTON'S BENTLEY--travel for the art & antiques connoisseur. CREATIVE PROCESS--artists' studio visits
ASK Mrs. BIDDINGTON--conservation of art & fine objects. MY ART--Art for kids.
BIDDINGTON'S--Home & Search


Shahbaz Sharif, the prime minister of Pakistan, gave an emotive address at the recent UN Climate Change Conference held in Egypt. In the aftermath of widespread floods across Pakistan, Sharif said: ‘Despite our low carbon footprint…we became a victim of something with which we had nothing to do’. Increasing greenhouse gas emissions are supercharging extreme weather events across South Asia and the world. Indeed, South Asia is one of the most vulnerable regions to climate change with more than half of all South Asians already affected by at least one climate-related disaster in the last two decades. Recent extreme weather events clearly correlate with the changes expected by climate modelling, namely, variability in the timing, intensity, and location of monsoons. But, though these changes have been predicted, their impact – particularly in unprepared areas – was nonetheless devastating.
2022 saw an early, and prolonged, heatwave in India and Pakistan which contributed to subsequent flooding in wide swathes of Pakistan as well as parts of India and Bangladesh. These events appear to provide a sample of the ‘new climate normal’ in the region. Indeed, according to the World Bank, more than 800 million people across South Asia are living in climate hotspots.
On the one hand, the region is struggling with the largest global cluster of poverty, continuing high inflation, slow economic growth, and numerous marginalized communities at severe risk from the threat of climate change. On the other hand, the region’s youthful population is a source of optimism and there is potential for growth particularly regarding investment in climate resilience and adaptation. Both viewpoints are valid. But what is unquestionably true is that if the region fails to deal with climate change successfully, the ramifications will be global. In this vein, generating an effective response to climate change across South Asia should be seen as a global public good.
‘Despite our low carbon footprint…we became a victim of something with which we had nothing to do’ said Shahbaz Sharif, prime minister of Pakistan, at COP27
Climate change, South Asia and the monsoon
Climate change is expected to lead to more intense extreme weather events. Warmer air can hold more moisture, implying longer dry spells as water remains in the atmosphere, and heavier rainfall when clouds do eventually burst. But climate change is also expected to bring greater uncertainty regarding weather patterns.
The central weather event in South Asia is the monsoon, the ‘bringer of life’ to the region yet the specific ways in which climate change will affect the monsoon, which is a complex weather system, are not yet definitive, and recent extreme weather in the region cannot yet be linked to climate change with complete certainty. The monsoon is characterized by heavy rainfall concentrated in the summer months. As the land-mass heats up in summer, the wind direction changes, and moisture-laden air from the Indian Ocean is drawn towards South Asia. Subsequently, the monsoon is maintained by latent heat released by convection. But rainfall during the monsoon is affected by a range of factors such as the local topography: mountain ranges affect airflow, in turn, affecting where rainfall is concentrated and where it is not. The slopes of the Himalayas, for instance, receive significant rainfall which feeds numerous rivers which flow across South Asia.
The general assumption that South Asia will witness hotter and more prolonged heatwaves, as well as more intense rainfall, seem borne out of the events witnessed in the subcontinent in 2022.
The trajectory and strength of the monsoon has always been variable though the average arrival date of its passage across South Asia can be seen above. Historically, weak monsoons had a significant economic impact, and in extreme cases, famine. Food security has improved significantly since the Green Revolution of the 1960s, though there are widespread concerns over issues such as the over-use of fertilizer and depletion of groundwater. In such a context, greater variability in the monsoon is concerning.
While the relationship between climate change and the monsoon is not definitive, other natural and unnatural phenomena have been shown to alter monsoon patterns. These include El Niño, which is generally linked to more extreme heat and lower rainfall, and emissions of greenhouse gases and aerosols, which have been linked to the decline in average rainfall in central India between the 1950s and the early 2000s. This is because aerosols scatter sunshine, causing hazy days, and absorb heat. This reduces the temperature difference between the land and the sea thereby affecting rainfall patterns. Air pollution, a challenge across the subcontinent, plays a similar cooling effect to greenhouse gases though over a much shorter timeframe. Future trends in pollution – and aerosols – will feed into the equation that determines the scale of temperature rise and consequent impact on the monsoon.
2022: a year of heatwaves and floods
In March 2022, India and Pakistan experienced a heatwave well before the usual months for peak heat across both countries. India recorded its hottest March since 1901 and temperatures peaked at close to 50oC in the Pakistan city of Nawabshah. The hottest temperature, 51oC, was recorded in Jacobabad in May. The heatwave was one of the longest for decades and it was followed by a late, and incessant, monsoon which would go on to cause widespread flooding in Pakistan. The two events are connected. Extreme heat increases the risk of subsequent flooding because warmer air can hold more moisture, drier ground is less able to absorb rainfall and, for countries in South Asia, hotter weather in the Himalayas brings the risk of increased glacial melt.
The so-called Third Pole, the Himalayan mountains, contain the most glaciers after the Arctic and Antarctic. The extreme events also coincided with two unconnected events which exacerbated the challenges: the COVID-19 pandemic and Russia’s invasion of Ukraine. Restrictions associated with the pandemic affected the availability of agricultural labour while the Russia-Ukraine war raised the cost of food and fuel.
While the countries of South Asia have extensive experience of riverine flooding during the monsoon, when swollen rivers burst their bank, the floods in Pakistan in 2022 were an order of magnitude different from the past, stemming from intense rainfall, including in areas unused to heavy rainfall.
A climate-triggered roulette
The floods of 2022 did not stem from overflowing rivers. Instead, four low-probability meteorological events occurred simultaneously.
1. Record temperatures in March and April hastened the melting of the Shisper Glacier. This burst through an ice dam in early May. Government officials estimate that unusual heatwaves in the region contributed to 16 glacial lake outbursts in 2022 compared with between five or six in previous years.
2. Monsoon clouds drifted from their traditional pathway and the absence of easterly winds meant the clouds stalled. This exacerbated the depression caused by the heatwave and led to torrential rain and urban flooding in Karachi. Significantly, moisture-laden winds from both the Arabian Sea and the Bay of Bengal usually move towards northeast India at different times of the year but, in 2022, arrived at the same time thereby drowning the region.
3. Baluchistan – not a typical monsoon area – saw torrential rains end a long period of drought in the region. The country’s poorest province, Baluchistan, was hit the hardest and rain destroyed top-soil required to grow crops, livestock, homes and infrastructure. Of every 10, three casualties were in Baluchistan, the largest in any province. The region was also hit by an earthquake in July which destroyed several houses.
4. Monsoon clouds from Rajasthan came from an unusual route to inundate the Sindh province with ‘standing floods’. Combined with earlier flooding, the city’s drainage system did not function effectively having been damaged by rapid and unplanned urbanization. Overflow from excessive rain pushed water onto the streets and contributed to washed out roads.
A cloud outburst on the Afghan border and further flash flooding in Baluchistan province added to the climate turmoil. All of these extreme weather events reinforced the negative impacts of each disaster.
The heatwave and flooding had significant effects which cascaded across sectors and geographies because of multiple inter-dependences. These effects are both direct and indirect and demonstrate the manner in which the challenges are inter-linked. According to the World Bank, they threaten ‘Pakistan’s development ambitions and its ability to reduce poverty. The country needs fundamental shifts in its development path and policies, requiring substantial investments in people-centric climate adaptation and resilience, that will require international support.’
Direct consequences of extreme weather include heatwaves leading to increased forest fires, for instance, or flooding destroying infrastructure, eroding riverbanks, saline intrusion and the destruction of buildings and crops. The heatwave in the breadbasket of South Asia – Pakistan and northwest India – was particularly harmful for the wheat crop.
The indirect consequences range from migration within, and between, countries, food insecurity, health risks and disruption to trade and finance. While the means by which societies can become more resilient to the direct impacts are relatively well-established – if often politically difficult – resilience needs to be extended downstream into the indirect threats.
Around 3 million people were affected by the flooding in Pakistan. While the death toll was relatively low given the scale of the flooding, at around 1,700 people, the impact on property, however, was considerable. Perhaps as many as 2 million houses were destroyed along with 3 million livestock. In some areas, floodwater was unable to escape, leaving some populated areas submerged by several meters of floodwater. This standing water in turn creates serious health risks from water-borne diseases such as cholera and dysentery as well as malaria and dengue fever which was exacerbated by a shortage of mosquito nets in flood-affected areas. As sea levels rise, future floods could be even more severe since higher sea levels will slow water flow into the sea.
Along with the loss of livestock, the flooding caused widespread damage to crops and washed away topsoil, potentially harming future agricultural productivity. Agrarian distress drives migration to urban areas, in particular, the migration of men. This migration from rural areas has numerous societal impacts: it leaves women left behind vulnerable, creates additional pressure on urban infrastructure and raises concerns regarding law and order.
Climate extremes have become the norm across South Asia
Extreme heat has had wider environmental, economic and social ramifications across the region. Between 2017 and 2021, the damage done by wildfires in the Himalayan state of Uttarakhand more than trebled, and between November 2021 and June 2022 the state recorded almost 13,000 wildfires. Along with industrialization and pollution, a rise in wildfires is thought to have contributed to a rise in respiratory diseases in mountain communities and has led to economic losses in agricultural communities.
The most immediate economic impact from heatwaves is a surge in demand for power for cooling which has overloaded power grids across the region and led to widespread power outages. To counter these effects, India has tried to ramp up electricity generation using coal-fired power stations. While demand for power has increased, demand for most goods have fallen, and productivity has been lower. By some estimates, India alone suffers half the 200 billion days of labour lost globally owing to heatwaves. This could account for up to 4.5 per cent of India’s GDP by 2030, while Pakistan and Bangladesh could see losses of 5 per cent of GDP due to lost labour. The impact is worse for informal workers as well as those who work outdoors in sectors such as construction, transport and agriculture.
The need for cooling extends beyond individuals. Some medicines and food products require cooling. At present, less than 4 per cent of fresh produce in India is transported by cold chain logistics (keeping foodstuffs cool along the supply chain). While the potential market for cold chain technology across South Asia is huge, if it were to develop, there would be major implications for energy demand. Demand for air conditioning is rising fast as access to energy increases but from a low base. In 2019, one study suggested just 10 per cent of India’s population had an air conditioning unit. The massive untapped market offers business opportunities – by some estimates up to $1.5 trillion by 2040 in India alone – but also indicates the need for a significant rise in energy production and/or the development of new cooling technologies. Investment in sustainable cooling solutions will be key to a just and equitable energy transition.
By some estimates, India alone suffers half the 200 billion days of labour lost globally owing to heatwaves. This could account for up to 4.5 per cent of India’s GDP by 2030, while Pakistan and Bangladesh could see losses of 5 per cent of GDP due to lost labour.
Several surveys in Bangladesh have suggested that the vast majority of those that move into urban areas cite environmental reasons as the reason for their moving including erosion, flooding and cyclones. Those that move into slums are frequently the worst affected by extreme weather being more over-crowded with less green space and less access to cooling technology. In addition, slum dwellers are often more likely to work outside whether in agriculture or construction. Water-borne diseases such as dengue and malaria affect poorer communities more than affluent communities.
BRAC: Using technology to anticipate climate impacts
BRAC, an international development organization based in Bangladesh, has partnered with the Massachusetts Institute of Technology to develop the Climate Resilience Early Warning System Network (CREWSnet) to forecast the community-level impacts of climate change in Bangladesh. By fusing climate science with development programming, BRAC can use this tool for informed decision-making. For example, BRAC can identify when a heatwave will become particularly severe, or which communities will need to be evacuated during a cyclone, and provide the necessary knowledge and resources to strengthen affected communities’ abilities to respond, and adapt, to future extreme weather or climate impacts. CREWSnet can also be used to locate areas better suited to climate migration, an issue of growing importance, since 57 per cent of slum dwellers across five cities in Bangladesh are climate migrants. Not only could this provide an enhanced standard of living to those who are displaced but also build stronger and more positive community relationships and stability across the country.
Historically, migration provided one means of dealing with environmental degradation, and South Asia’s cities continue to expand because of rural distress The abandoned Moghul capital of Fatehpur Sikri stands testament to the fact that cities require a perennial water supply. But, within contemporary South Asia, the scope for mass migration within the region is less apparent. Those areas with the prerequisites for urbanization are largely already built upon.
Scientists predict that this extreme weather phenomenon, in particular ‘urban heat islands’ where 45 degree temperatures feel like 50 degrees, will become more frequent and severe. Yet, while these impacts have generated understandable anger among politicians in South Asia, not least for the region’s lack of responsibility for climate change, they do not appear to have generated widespread public demand for action nor generated concrete actions to prioritize climate action. Instead, the greater the frequency of extreme weather events, the greater the ambivalence towards them. While countries such as Pakistan highlight their lack of responsibility for climate change yet their vulnerability to its effects, many argue that this emphasis on vulnerability provides an excuse for inaction.
Building resilience at the local level
Climate change provides multi-faceted, multi-layered challenges, requiring a corresponding response. It needs societal shifts to incentivize resilience coupled with a range of technical responses. Because the risks cascade, siloed approaches are unlikely to be effective. In fact, solutions to some challenges may exacerbate other problems such as harming already marginalized communities’. Those working outdoors during a heatwave, for instance, face a choice between health risks of continued working in extreme weather and losing their livelihoods.
Every country in South Asia has a national level policy or plan to deal with the impacts of climate change. But, implementation of those plans is less apparent, and the capacity to implement plans at a local level varies dramatically across the region. Indeed, in the worst cases, it is close to non-existent. In addition, there is a need for evidence, particularly to demonstrate the economic benefits of action, not least through the likely costs of inaction.
At an individual level, without significant technological advancement, there will be a need to make do with less. In particular, water usage is likely to be needed to be minimized, requiring a focus on maintenance as well as agricultural usage of water.
At a local level, effective urban management will be paramount to deal with the various impacts effectively. Most South Asian cities, however, are suffering the effects of historic poor management and rent-seeking, making solutions now costlier than if urban expansion been better planned.
Existing governance systems are likely to come under strain in the event of significant environmental shocks. In parallel, dealing with the impacts in rural areas will be imperative. In the event of significant rural distress, migration into urban areas will hamper urban management.
Solutions to the specific impacts of climate change – more extreme heat and rainfall – are largely known and, while often simple in theory, are sometimes harder to implement in practice. Increasing vegetation in cities, for example, is one means of dealing with the urban heat island effect. Vegetation reflects, rather than absorbs, sunlight and plants release moisture helping lower temperatures. For example, as part of the Cooling Singapore project, 56 per cent of the island has been lined with shady Angsana and rain trees to reduce heat and improve outdoor thermal comfort.
The construction of more green public spaces, such as parks or playgrounds, would also serve to absorb heat and allow better circulation of air. Rising land values in cities mean that much green space is already built upon. Protecting existing green space is a significant challenge let alone demolishing existing buildings and resettling and compensating those affected. The Dhaka North City Corporation is an admirable example whereby 20 parks and playgrounds are being developed through the greening of urban open spaces.
A less costly alternative would be the construction of rooftop gardens. Traditional roofs absorb heat while heating the building below. By reflecting heat, rooftop gardens could serve to lower the cost of air conditioning, and of heating in colder months. Depending on the plants grown, additional benefits could be to filter pollutants, provide food or increase biodiversity.
An alternative to rooftop gardens is to simply paint roofs white so they reflect rather than absorb heat. Various pilot projects in India have found that this reduces indoor temperature and also helps reduce demand for power.
World Bank: Sustainable cooling solutions in developing countries
Cooling devices such as refrigerators, air conditioners and industrial chillers account for almost 10 per cent of global greenhouse gas emissions, three times the amount generated by aviation and shipping combined. When temperatures increase above 30°C, cities like Delhi, for example, have recorded a 30 per cent increase in energy demand. The intensity of heatwaves, population growth and urbanization across South Asia could see emissions double by 2030 if sustainable cooling solutions are not rapidly financed, scaled up and deployed. The World Bank has recognized the critical nexus between sustainable cooling and the energy transition, and the potential of cooling as a development strategy, and has recently launched the Efficient, Clean Cooling Program to introduce energy efficient cooling solutions that are affordable and accessible to South Asian countries. Technical assistance can strengthen longer-term climate resilience, improve economic productivity and deliver on broader development goals.
Early warning systems and the construction of shelters, either raised structures or built on higher ground, can save lives from flooding though not protect property or livestock. Improving drainage systems, including waste management in urban areas, is one means of preventing the build-up of water. Recent flooding in Karachi, for instance, was exacerbated by insufficient drainage, poor maintenance and the blockage of drains by plastic bags and other solid waste. These problems, in turn, can stem from the ‘verticalization’ of cities. Finite space has led to the expansion of buildings upwards. Drainage systems intended for a two-story building, for example, cannot cope with double or treble the population in the same building.
Water storage is a challenge in its own right. With 80-90 per cent of annual rainfall in the region arriving during the short monsoon season, ensuring water supplies year-round is challenging now and will not become easier in the future. Better water storage would also hold more water thereby reducing the impact of floods.
Rainwater harvesting or rooftop gardens can play a similar role in water storage. Water running-off traditional roofs adds to the volume of water to be dispersed. If water can be captured, either through storage or by feeding rooftop gardens, the volume of water on the ground will be reduced.
Urban growth has led newer migrants to many cities to live in more flood-prone areas including on riverbanks. Reducing the population living in these areas is an obvious means of reducing the numbers affected by floods. However, the challenge here is not dissimilar to retrofitting green space in inhabited areas, in other words, the cost of compensation and/or the provision of alternative housing for those affected.
Underpinning many of these issues is the question of how to tackle these impacts while ensuring equity and fairness. Providing green space, for instance, by demolishing slums, would displace, rather than resolve, the problem. Upgrading existing slums, coupled with a focus on second tier cities to reduce pressure on existing metropolises, would present a more durable and equitable pathway.
There is also scope to mainstream traditional knowledge in managing water flow. Many of the worst impacts of extreme weather are exacerbated by modern construction techniques. Traditional approaches learning to live with flooding, for instance, may prove more effective and less costly than attempting to prevent floods from occurring. In farming, this can involve techniques such as the construction of trenches and troughs to catch rainwater and allow it to soak into the ground.
The scope for nature-based solutions extends beyond urban vegetation. Mangroves, for instance, can lessen the impact of extreme weather such as cyclones, are cheaper than sea walls and can create livelihoods. In addition, mangrove forests act as carbon sinks.
Towards a regional approach
Many of the countries of South Asia are politically, socially and economically fractured, worsened by divisions between the countries themselves, which are exacerbated by India’s size compared to its neighbours. Divided societies and regions are by nature less resilient than more harmonious ones. These conditions neither serve to build resilience nor encourage working together on a common agenda.
Whether climate change serves as an opportunity for regional collaboration or works to exacerbate existing divisions remains to be determined. While there are many challenges to overcome, progress has been made in information-sharing, and regional cooperation in general between Bangladesh, Bhutan, India and Nepal (BBIN), has grown substantially in recent years. The South Asia Hydromet Forum has also made inroads to promoting collaboration and strengthening the capacities of regional agencies to share weather and climate data across the subcontinent.
The starting point for regional engagement in relation to disasters, particularly in regions with concerns regarding sovereignty and political tensions, has generally been through meteorological information-sharing and the development of early warning systems. For riverine floods, in particular, data held by upstream countries can warn those downstream of impending threats though sensitivities between upstream and downstream riparians regarding river-flows can stymie efforts towards information-sharing. While progress on data-sharing at a governmental level is admittedly slow, several NGOs are working across borders to provide flood warnings to those downstream. Several such projects exist between Nepal and India and between northeast India and Bangladesh.
Heat Action Plans are a key adaptation measure to manage growing heat stress
In one lethal week in 2010, temperatures in Ahmedabad surpassed 48°C and over 1,300 people died. There were 100 neo-natal deaths in one hospital. Ahmedabad subsequently became the first city in South Asia to design and implement a heat action plan. The plan includes an early warning system, procedures for inter-agency coordination, capacity strengthening among government and health professionals for preparedness and reducing exposure and community outreach programmes for those most vulnerable including slum communities and outdoor workers. Ahmedabad has also moved from reactive to mitigative measures such as the cool roofs initiative. Using roof-building materials that reflect sunlight and absorb less heat can help lower indoor temperatures by as much as 5°C. The initiative has been rolled out to more than 15,000 slum households and 1,000 local government buildings. The success of Ahmedabad’s plan is seen through the impact of the 2015 heatwave in India: while 2,300 people died across the country, Ahmedabad reported only seven deaths. The heat action plan has been replicated in 23 other heatwave-prone states in India, covering more than 130 cities and districts, and has influenced Karachi, Male, Nepal and Sri Lanka to produce their own. Heat action plans are an important measure to help cities begin to adapt to extreme heat but a more robust and granular picture of the impacts of heatwaves will be needed. For example, cities often lack the ability to collect and analyse climatological-led empirical evidence such as the number of days and seasonal variability of heatwaves which is critical for building adaptive capacity for effective heatwave management.
Progress through inter-governmental regional groupings has undoubtedly been slow. The South Asian Association for Regional Cooperation (SAARC) remains stymied by tension between India and Pakistan. The Bay of Bengal Initiative for Multi-Sectoral Technical and Economic Cooperation (BIMSTEC), which includes Myanmar and Thailand but excludes Pakistan and Afghanistan, has until recently been hamstrung by resource constraints. BIMSTEC offers scope to formalize and deepen cooperation between the BBIN countries at least.
But there are several arguments to justify greater cooperation across South Asia including between India and Pakistan. The first is that in the absence of cooperation, climate change will serve to heighten tension, in particular, over shared rivers.
The second is that there is scope for mutual benefit from early-warning systems and information-sharing along with learning from examples of best practices.
Finally, because the challenges are shared, so too are countries’ interests. Engaging regionally and forging joint positions in international forums, most obviously the Conference of the Parties (COP), would amplify their voices. This is particularly the case where India and Pakistan need to stand together on climate-change related issues despite their other political differences. In fact, Pakistan currently chairs the G77 and, together with China, has pushed the issue of loss and damage and climate finance onto the agenda at COP27 in Egypt.
The Association of South East Asian Nations (ASEAN) has shifted from data-sharing towards a more holistic regional response to disasters driven by the collective experience of the 2004 Indian Ocean Tsunami. South Asia could feasibly follow a similar trajectory though previous shared disasters such as the 2005 Kashmir earthquake did not serve that purpose. In the absence of inter-governmental collaboration, there remains scope for interaction and peer-to-peer learning at other levels. Examples of successful rural and urban responses to climate change are likely to be replicable across the region and several initiatives, such as C40 Cities, provide a forum for urban managers to cascade successful interventions. Similarly, despite government reluctance to engage, there is scope for scientific cooperation and aspirations to maintain data secrecy have been superseded by satellites and the Internet.
Challenges to climate change must be overcome to improve lives across South Asia
But, even with the best intentions, policy frameworks and on-the-ground implementation, significant challenges will lie ahead. Changing weather patterns will present significant challenges. The floods of 2022 affected areas such as Baluchistan particularly badly: housing in Baluchistan is particularly unprepared for the effects of flooding given that average rainfall is just 5cm. If rainfall patterns continue to change, extreme weather events will affect ill-prepared areas and could hinder the development of insurance markets. However, the greater the unpredictability, the harder it will be for underwriters to accurately assess the risks.
Because the response needs to be multi-sectoral and multi-layered, this raises questions of who owns, and is responsible for, the implementation. Both India and Pakistan delineate the responsibilities of central government and the states/provinces. But this framework will not necessarily translate into effective action to counter the effects of climate change. The multi-faceted challenges do not necessarily sit squarely within the remit of one layer of government. While this is not insurmountable, the challenge is heightened if central and provincial governments are of different political hues. There are numerous precedents for governance failures to become political footballs used by political parties to blame their political opponents.
The multi-faceted challenges do not necessarily sit squarely within the remit of one layer of government. While this is not insurmountable, the challenge is heightened if central and provincial governments are of different political hues.
The question of finance is also imperative. Carbon markets offer one means of generating finance while tackling climate change and markets are starting to evolve in India and elsewhere but many of the examples are small scale and need to be aggregated to make them attractive to potential investors. Given the costs involved, it is understandable that there are widespread demands for those responsible for carbon emissions to bear more of the costs faced by those most immediately affected.
Dealing with climate change can become an economic and technological opportunity rather than simply a cost or burden. The region stands to benefit from a suite of international aid and trade agreements by aligning their priorities and signaling a commitment to deal with the impacts of climate change. Industries worth trillions of dollars can emerge in fields not limited to cooling, transport, agriculture and construction along with millions of other green jobs. But this will not happen by accident. It will require political will, public support, technological advances, regional cooperation and, most likely, a great deal of luck.


Stevie May June 18, 2019 Flowcharts
Flow Chart Definition. A flowchart is a graphic representation of how a process works, showing, at a minimum, the sequence of steps. A flowchart is a diagrammatic representation that illustrates the sequence of operations to be performed to get the solution to a problem. It can be seen from the definition that a flow always accompanies with business or transaction. Not all of the flows, however, are appropriate to be expressed by flowcharts, unless these flows are based on some fixed routines and stable links. Here is an example of the algorithm flowchart.
The arrow symbol is used to guide the viewer along their flowcharting path. And while there are many different types of arrow tips to choose from, we recommend sticking with one for your entire flowchart. It’s less confusing and generally more aesthetically pleasing.
VisualDesigner is an impressive flowchart maker for Mac that doesn’t cost a dime for its extensive features. You can choose from tons of shapes and connectors, each customizable from its color to its size to its text.
Tag Cloudirb process flow chart


NEW YORK (AP).- Plank by plank, archeologists on Monday began the delicate process of dismantling a section of an 18th century ship that was found buried across the street from the World Trade Center site.
Each plank will be freeze-dried so that the fragmentary hull can eventually be reassembled and put on display, said Nichole Doub, head conservator for the Maryland Archeological Conservation Laboratory.
The 32-foot section of the nameless vessel was found earlier this month as workers were excavating for the rebuilt World Trade Center's parking garage.
The archeologists who carefully began taking it apart said they were thrilled by the historic find.
"This is my first ship. I've been doing archeology in New York City for almost 30 years," said Diane Dallal, director of archeology for AKRF, an environmental, engineering and planning consulting firm that is working on the project.
The section of the ship lay bathed in water and shielded from the sun by a tarp strung up on poles. Doub said the timber has to be kept wet or it will warp.
Each plank was labeled so conservators will know its precise location in the wreckage. The members of the conservation team then picked up each plank, measured it and wrapped it in layers of moisture-preserving insulation. The process of dismantling the ship was expected to take two to four days.
Debris found under the timbers gets placed on a screen and hosed off. The water-screening process, which evokes images of prospectors panning for gold, is the best way to separate artifacts from the mud they were buried in, Dallal said. Items like coins and buttons could yield clues to the ship's past, she said.
Historians believe the ship had been junked by the time it was used around 1810 as landfill to extend the shores of lower Manhattan. The ship's exact age will be determined by lab analysis.
Warren Riess, a historian at the University of Maine whose specialty is 18th-century ships, said the buried fragment appeared to be the ship's bow. "It's probably something that was like a coastal schooner or brigantine or sloop," he said.
Riess said the ship likely sailed from New York to Boston or to Virginia or Barbados carrying goods such as flour, bricks or hay.
"A merchant ship, a jack of all trade that's my first guess," he said. "It's the kind of ship that made New York, when you think about it."
The ship was found partially intact because the dirt it was buried in preserved it. Riess said the ship is an important find because no one would have bothered to save such a commonplace vessel 200 years ago. "Nobody wrote about it, nobody made drawings of it," he said.
The discovery of the ship's rotting timbers 20 feet below street level in a spot surrounded by office towers suggests Manhattan's long history as a hub of commerce.
"The Dutch set it up as a trading post and what is it today?" Riess said. "It's the world's biggest, greatest trading post, isn't it?"
Copyright 2010 The Associated Press.


Filippo Brunelleschi (1377 – April 15, 1446) was one
of the foremost architects and engineers of the Italian Renaissance.
All of his principal works are in Florence, Italy. As explained by
Antonio Manetti, who knew Brunelleschi and who wrote his biography,
Brunelleschi "was granted such honors as to be buried in the
Basilica di Santa Maria del Fiore, and with a marble bust, which
they say was carved from life, and placed there in perpetual memory
with such a splendid epitaph."
Dome of the Cathedral 1420-36
Please note: site admin does not answer any questions. This is our readers discussion only.


Sudan National Museum
The National Museum of Sudan or Sudan National Museum of African Art, abbreviated SNM, is a double storied building constructed in 1955 and established as an African Art museum in 1971. The building and its surrounding gardens house the largest and most comprehensive Nubian archaeological collection in the world including objects from the Paleolithic through to the Islamic period originating from every site of importance in the Sudan. In particular the National Museum of Sudan houses collections of these periods of the History of Sudan: Paleolithic, Mesolithic, Neolithic, A-Group culture, C-Group culture, Kerma Culture, Middle Kingdom of Egypt, New Kingdom of Egypt, Napata, Meroë, X-Group culture and medieval Makuria. The African Art museum is located on the El Neel (Nile) Avenue in Khartoum in Al-Mugran area near the spot where the White and the Blue Niles meet.
The objects of the African Art museum are displayed in four areas:
- The Main Hall on the ground floor
- The gallery on the first floor
- The Open Air Museum in the garden
- The Monumental Alley outside the museum building
AlsoKey highlights of the collections include:
- The Taharqo statue. A 4-meter high granite statue of Pharaoh Taharqo, penultimate Pharaoh of the 25th dynasty, facing the main entrance welcomes the visitors of the museum. The statue was broken by the Egyptians upon sacking Napata in 591 BCE under the reign of Psamtik II, then buried in a pit by kushite priests and found by George Reisner in 1916.
- Neolithic black-topped red burnished pottery and ram statuettes of the C-Group culture.
- Funerary artefacts and ceramic art.
- Stela of the chief of Teh-khet Amenemhat, found at Debeira West
- Middle Kingdom of Egypt and New Kingdom of Egypt artefacts from the area of the third cataract like Sai, Soleb, Sedeinga and Kawa.
- A bowlegged figurine of the dwarf goddess Beset with a plump body and strange facial features: She has a large flat nose and a wide mouth framed by a lion mane and round lion ears. Uncommon in Egyptian art, Beset is pictured frontally and full-faced rather than in profile. She appears grasping an undulating snake in her 3-digit left hand indicating to control hostile forces. She is the protector of mothers and new-born children.
- The Napata and Meroë periods of the Kingdom of Kush including the 25th dynasty: Funerary material, a granite statue of king Aspelta, the statue of an unknown Meroitic king represented as an archer and artefacts from its most representative sites like Meroe, Musawwarat es-Sufra and Naqa.
Contact Listings Owner Form
Sudan National Museum 0 reviewsWrite Your Review
There are no reviews yet.


Cleo Hartwig (20 October 1907 – 18 June 1988) was an American sculptor who worked in stone, wood, terra cotta, plaster, paper, woodcut, and ceramic. She won a number of awards, including national awards, and her work is exhibited across the northeast U.S.
Cleo Hartwig belongs to a line of 'direct carvers' (taille direct) which includes both Jose de Creeft, with whom she studied, and Vincent Glinsky, her husband. With this technique the artist carves directly into the materials, without the use of intermediary steps. The conception and execution of the work is influenced by the density, veining, color, texture, and shape of the material.
Hartwig belongs to the generation of the 1930s and 1940s who advanced opportunities for women artists. She was an early member of the National Association of Women Artists (eventually serving as Vice President), and the New York Society of Women Artists (eventually serving as Recording Secretary). She is regarded as a member of The New York School, and her work was featured in the TV documentary, Women of the First Wave; Elders of the Century. Cleo Hartwig’s papers are held at the Smithsonian Institution’s Archives of American Art.
Newark Museum, NJ
Cleo Hartwig was born in Webberville, Michigan on October 20, 1907. Her rural upbringing had a lasting influence on the development of her art. She was passionately interested in every detail of plant and animal life—from form to function—and observed nature with a mix of scientific attention and artistic observation.
“Growing up in rural Michigan before the days of mass media entertainment,” Hartwig once wrote, “there was ample time to explore the countryside, search for birds’ nests, raise caterpillars until they spun cocoons and hatched into moths or butterflies, find frogs’ eggs in the ponds and watch them develop into tadpoles. These first-hand observations and experiences are among my happiest and sharpest memories, and probably account for the many nature form subjects in my sculpture. There is such rich and endless variety in nature that one could, it seems, design nothing except bird forms and never exhaust the possibilities of interpretation.”
Hartwig attended Portland High School between 1921-25, and entered Western State Teachers College (now Western Michigan University) in 1926. She interrupted her studies to teach art at Holland Junior High School (1926-29), and take summer art classes at Chicago Art Institute (1930, 1931). She returned to WSTC to graduate with an A.B. in 1932.
After graduation she settled in New York City, finding employment as a teacher at The Town School (1934-36). During the summer of 1935 she studied art in Poland, Hungary, Rumania, and Germany. Hartwig then taught at the Ecole Francaise (1936-39) in New York, and exhibited for the first time in New York at The National Academy of Design (113th Annual, 1938). In 1939 she made a summer trip to France to study art, but returned home hastily because of the growing hostilities. Hartwig took up residence at Patchin Place, the historic Greenwich Village cul-de-sac, home to many famous artists of the early 20th century. (She remained at that address until her death). She joined the faculty of the Lenox School (1939-42), and exhibited her work in group shows at the Clay Club, National Academy of Design, Syracuse University, and Mt. Holyoke College. She was also part of the 1942 “Artists for Victory” exhibit at the Metropolitan Museum of Art.
After summer art study in Mexico (1941), Hartwig began to incorporate gestures from that country’s culture into her work. "Her carvings from the 1930s and early 1940s,” noted Ilene Fort, of the LA County Museum of Art, “are characterized by compact, massive forms, crisp outlines, and minimal details. In their blockiness, extreme simplification of shape, and coarse surfaces they especially echo Mesoamerican sculpture."
During World War II Hartwig did drafting at Bell Telephone Laboratories (1942–43), and technical illustrating at the Jordanoff Aviation Corp in NY (1943–45). During this time she held her first solo New York exhibition (Clay Club, 1943), and became active in many arts organizations. She was an early member of the National Association of Women Artists (eventually becoming Vice President), and the New York Society of Women Artists (Recording Secretary). At that time she also began her long association with the Sculptors Guild (Exec. Dir., Exec. Bd., Exec. VP), Audubon Artists (VP for Sculpture, Exhibition Committee), and New York Society of Ceramic Artists (Sculpture Jury).
The National Association of Women Artists (NAWA) awarded Hartwig the Anna Hyatt Huntington Prize for her Mandolin Player in 1945. That same year she exhibited with the Pennsylvania Academy of the Fine Arts, National Academy of Design, National Association of Women Artists, Audubon Artists, and New York Society of Ceramic Artists. She also became a sculpture instructor at Cooper Union in New York and the Montclair Art Museum in New Jersey. In addition, she completed an important work for the architect Kenneth B. Norton: a "Family Group" for the Continental Companies Building on Williams St. in downtown Manhattan. For that commission Hartwig created an 8-foot-high bas-relief of a mother, father, and child, which was cast in aluminum and installed on the front of the building.
In 1951 Hartwig married fellow sculptor, Vincent Glinsky (1895-1975). Their son, Albert Glinsky, was born the following year. Throughout the 1950s she continued to teach, complete commissions (S.S. United States), and win prizes (including several from NAWA; Artists Equity; Audubon Artists; Munson Proctor Institute). In addition, Western Michigan University awarded her an Honorary Masters Degree (1951).
During the 1960s Hartwig participated in the annual shows of the Sculptors Guild, exhibited her alabaster “Sea Foam” at the 1964 New York World’s Fair, and took part in the Bryant Park outdoor exhibits in midtown Manhattan. She worked with reproduction houses (Alva Museum Replicas, Sculpture Collectors, Collectors Guild) and executed a commission for the All-Faiths Memorial Tower in NJ (now George Washington Memorial Park). Her sculptural methods were examined in a feature article in American Artist magazine.
In the 1970s Hartwig continued to collect honors: she was elected to the National Academy of Design as an Academician (1971) and received an Honorary Doctorate from Western Michigan University (1973). That same decade her work won awards from the National Sculpture Society, Sculptors Guild, National Association of Women Artists, Audubon Artists, and National Academy of Design. She had a solo show at the Montclair Art Museum (1971) and two joint shows with her husband, Vincent Glinsky (Sculpture Center, NY, 1972; Fairfield University, CT, 1974).
During the last decade of her life (1980s) Hartwig exhibited in more shows than in any previous decade—58 in all. Her "Owlet," shown at the New York Botanical Garden's Conservatory, was also featured in The New York Times. She was invited to serve on juries around the country, including the 4th North American Sculpture Exhibition, for which she was co-juror with Francisco Zuniga. She received more awards, gave masterclasses, and continued to sculpt until just months before her death. Cleo Hartwig died on June 18, 1988 in New York City. After her passing, the Sculptors Guild dedicated its 1990 Hofstra University Exhibit Catalog to her memory, and the Audubon Society instituted an annual sculpture prize (still given today), in her honor.
Commissions / Awards