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This equestrian portrait shows Don Gaspar de Guzmán, Count-Duke of Olivares, who was King Philip IV of Spain's prime minister from 1621–43. A figure of enormous importance, he was portrayed by Velázquez on several occasions. Life-size, standing portraits are in the Hispanic Society of America, New York, and the São Paolo Museum of Art, Brazil; the latter was commissioned by a member of the court, Don García Pérez de Araciel y Rada, together with the portrait of Philip IV in the Metropolitan (14.40.639). The most celebrated and monumental of Velázquez's paintings of Olivares's is the life-size equestrian portrait in the Museo del Prado, Madrid (inv. 1181; 313 x 239 cm.), usually dated between 1632 and 1638. Even though the Count-Duke never took part in any battle, he was instrumental in the Spanish victory against the French at the border town of Fuenterrabía in 1638 and was celebrated for this. It has been argued that the Prado portrait was painted to commemorate the victory. The picture may also be related to a series of five large equestrian paintings of Kings Philip III and Philip IV of Spain, their wives Queens Margaret of Austria and Isabel of Bourbon, and Prince Balthazar Carlos made by Velázquez for the two end walls of the Hall of Realms (Salón de Reinos) of the Palace of the Buen Retiro, Madrid, between 1629 and 1635 (for a summary of views, see Gállego 1990, pp. 254–63; and Portús, García, and Dávila 2001 pp. 20–22). The Metropolitan's painting is an extremely fine, much reduced variant of the equestrian portrait in the Prado. Significantly, it incorporates changes that have made it difficult to reach a categorical decision about its function and status, for although the figure of the Count-Duke is identical in pose and costume in both the Prado and the Metropolitan canvases, in the Prado portrait he is mounted on a chestnut-colored horse in the dressage position known as levade, whereas in the Metropolitan's painting the horse is white; the landscapes are also different. The existence of a painting of a life-size white horse in the same levade position in the Palacio Real, Madrid, generally attributed to Velázquez and considered to be related to the Prado canvas, adds a further complication to understanding the function and character of the Metropolitan's picture. Alternatively, it has been proposed that it is an autograph modello for the large canvas in the Prado or a reduced, workshop variant, possibly painted by Velázquez's son-in-law and principal assistant, Juan Bautista Mazo. The latter interpretation has gained the ascendance during the past half century (see, for example, the views expressed by Mayer 1924; Enriqueta Harris 1951; Lopez-Rey 1963, and Portús, García, and Dávila 2011, p. 25, which have been fundamental for later scholarship). That the Metropolitan's picture was admired in its own right is attested by an inferior copy in the Neues Schloss at Schleissheim, near Munich (1.35 x 1.14 cm.), also often ascribed to Mazo, and another in the collection of the Marqués de Vallcabra, Madrid. There is, finally, a free copy, evidently made in Bologna by one of the Gandolfi (formerly Harari & Johns, Ltd., London), in which the composition is adapted to a horizontal format.Three published inventories are relevant to any analysis. The first and potentially the most important is the 1651 inventory of Gaspar de Haro, Marqués de Eliche, and later 7th Marqués del Carpio, who was the great-nephew of Olivares: "239. Una pintura en lienço del Retrato del Conde Duque Armado con Un baston en la mano en Un caballo blanco copia de Velazquez de la mano de Ju.o Bap.ta maço de bara y media en quadro poco mas o menos con su marco negro" (a painting on canvas of the portrait of the Count-Duke, in armor, with a baton in his hand, on a white horse, copy after Velázquez by Juan Bautista Mazo, one vara and a half square, more or less; see Burke and Cherry 1997, pp. 477, 483 n. 51). The dimensions of that painting—which translate to about 126 cm., or 49 1/2 in.—roughly correspond to those of the Metropolitan's painting (though it is a vertical rather than square composition) and, indeed, a number of scholars have identified the del Carpio inventory notice with the museum's picture. The attribution of that work to Mazo might be thought definitive, in as much as Carpio was a major patron of Velázquez. However, a similar picture is also listed In the will of the painter Diego Rodríguez drawn up in Madrid and dated August 8, 1654: "Otro liença de a bara y media del Conde Duque a cauallo que es orijinal de Diego de Belázquez" (another canvas a vara and a half of the Count Duke on horseback which is an original by Diego Velázquez). This picture was to be used as partial payment of a debt (see Mercedes Agulló Cobo, Noticias sobre pintores madirleños de los siglos XVI y XVII, 1978, p. 140). Then, in the 1783 inventory of the collection of the Bolognese castrato Carlo Broschi, known as Farinelli, who had formed a collection in Spain during his employment at the court of Philip V and Ferdinand VI, there is listed a smaller version of the composition: "un quadro nella sua cornice indorata rappresenta un Cavaliere armato sopra un Cavallo bianco, di mano di Velasques. Figura intiera mezzana; alto P.3:03 largo P.2:0.8" (a painting in its gilded frame representing an armed knight on a white horse, by Velázquez. Full figure, half-size, 3.3 palmi high, 2.8 wide: see Boris and Cammarota 1990). If the measurements employed in that inventory are in palmi romani, Farinelli's painting was approximately 27 x 18 in. and, therefore, significantly smaller than the Metropolitan's painting; as this inventory was drawn up in Bologna, it seems likely that the picture owned by Farinelli was the source of Gandolfi's painting, cited above. It remains uncertain which, if any, of these pictures relates to the Metropolitan's picture, the earliest certain notice of which is in 1806, when Colonel Lemotteux in Paris sold it to the 7th Earl of Elgin, for 15,000 pounds; it is possible that the painting left Spain for France during the Peninsular War at the beginning of the nineteenth century.The high quality of the Metropolitan's canvas has always been recognized. There are quite noticeable adjustments (pentimenti) around the hat of Olivares and the landscape, the topography of which differs from that in the Prado painting, is notable for its direct, assured handling (allowance must be made for the blue of the sky, the color of which has altered because of the probable use by the artist of the fugitive pigment smalt). The landscape was painted up to and around the pre-situated figure of Olivares, with the ground left exposed in some areas while in other places the contour has been sharpened. That not only Velázquez but Mazo was capable of realizing such a landscape is clear from the latter's 1646–47 View of Saragossa in the Prado—a work that, because of its quite exceptional quality, has sometimes elicited theories of Velázquez's possible involvement. Moreover, although in character the landscape is similar in style to that in the equestrian portrait of Queen Isabel de Bourbon (one of the series for the Buen Retiro palace cited above), that work is not thought to be entirely by Velázquez and involved some workshop participation. The oeuvre and collaboration of Mazo with Velázquez have yet to be clearly defined. Nonetheless, in assessing the authorship of the Metropolitan's painting, Lopez-Rey (1963) observed that "a prodigality of highlights—characteristic of Mazo—encumbers rather than lightens the modeling of both the rider and his mount." Portús (2011) has also ascribed to this view, noting that although the artist clearly emulates the technique and style of Velázquez and was very talented, the "manner of constructing the volume of the horse through the play of light and dark zones lacks the structural solidity and formal coherance of Velázquez." [2014]
Colonel Lemotteux, Paris (by 1806; probably removed from Spain during the Peninsula War; sold for £15,000 to Elgin); Colonel Thomas Bruce, 7th Earl of Elgin and 11th Earl of Kincardine, Broomhall, Dunfermline, Fife (1806–41); Earls of Elgin and of Kincardine, Broomhall (1841–1917); Edward James Bruce, 10th Earl of Elgin and 14th Earl of Kincardine, Broomhall (1917–52; sold through Agnew, London, for $207,200 to MMA)
Edinburgh. Royal Institution. "Paintings by Ancient Masters Exhibited at the First Annual Opening of the Institution," March 11, 1819, no. 1 (as "Equestrian Statue [sic] of Count Olivares, Prime Minister to Philip II of Spain," by Velázquez, lent by the Earl of Elgin) [exhibition held on the upper floors of Sir Henry Raeburn's house].Edinburgh. Royal Institution for the Encouragement of the Fine Arts in Scotland. "Third Exhibition of Ancient Pictures," April 17–?, 1826, no. 62 (as "Equestrian Portrait of the Conte de Olivares, favourite Minister of Philip the Fourth, King of Spain," by Velázquez, lent by the Earl of Elgin).Manchester. Art Treasures Palace. "Art Treasures of the United Kingdom," May 5–October 17, 1857, no. 789 (as "Duke Olivares, on Horseback," by Velázquez, lent by the Earl of Elgin, from the Purvis Collection).London. Royal Academy of Arts. "Winter Exhibition," 1876, no. 116 (as "Portrait on a White Horse of Don Gaspar de Guzman, Conde Duque d'Olivarez, the Celebrated Spanish Statesman, Contemporary of Buckingham and Richelieu," by Velázquez, lent by the Earl of Elgin).London. Royal Academy of Arts. "Winter Exhibition," January–March 1891, no. 113 (as "Portrait of Don Gaspar de Guzman, Conde Duque d'Olivarez," by Velázquez, lent by the Earl of Elgin).Edinburgh. National Gallery of Scotland. "Spanish Paintings from El Greco to Goya," August 19–September 8, 1951, no. 37 (as "The Conde-Duque de Olivares on a White Horse," by Velázquez, lent by the Earl of Elgin, K.T.).Madrid. Casón del Buen Retiro. "Velazquez y lo Velazqueño," December 10, 1960–February 23, 1961, no. 99 (included with the works of Velázquez as "Retrato ecuestre del Conde-Duque de Olivares).Museum of Fine Arts, Boston. "Masterpieces of Painting in The Metropolitan Museum of Art," September 16–November 1, 1970, unnumbered cat.Leningrad [St. Petersburg]. State Hermitage Museum. "100 Paintings from the Metropolitan Museum," May 22–July 27, 1975, no. 32.Moscow. State Pushkin Museum. "100 Paintings from the Metropolitan Museum," August 28–November 2, 1975, no. 32.New York. The Metropolitan Museum of Art. "Velázquez," October 3, 1989–January 7, 1990, no. 19.Athens. National Gallery Alexandros Soutzos Museum. "From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York," December 13, 1992–April 11, 1993, no. 22.Palacio Real de Madrid, and. Palacio Real de Aranjuez. "Cortes del Barroco: De Bernini y Velázquez a Luca Giordano," October 15, 2003–January 11, 2004, no. 5.1 (as by Mazo after Velázquez).Rome. Scuderie Papali al Quirinale. "Velázquez, Bernini, Luca Giordano: le corti del barocco," February 12–May 2, 2004, no. 5.1.London. National Gallery. "Velázquez," October 18, 2006–January 21, 2007, no. 26.New York. The Metropolitan Museum of Art. "Velázquez Rediscovered," November 17, 2009–February 7, 2010, no catalogue.
W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, pp. 115–16, considers it superior in quality to a standing portrait of Olivares, also in the exhibition [possibly no. 737 in the catalogue, now Hispanic Society, New York], and wonders if it might be a first attempt or study after nature for the large equestrian portrait of Olivares in the Prado, Madrid. [Gustav Friedrich] Waagen. Galleries and Cabinets of Art in Great Britain. London, 1857, p. 444, as by Velázquez, in the collection of Lord Elgin; describes it as "of great life and elevation of conception, admirable in keeping, and broad and masterly in execution". Pedro de Madrazo. Catálogo descriptivo é histórico del Museo del Prado del Madrid. Madrid, 1872, pp. 611–12, considers it a copy of the Prado equestrian portrait, which he dates 1639–42; mentions that Stirling [see Ref. Stirling-Maxwell 1891; the 1848 ed. he refers to is unavailable] called it a repetition of the Prado canvas. Charles B. Curtis. Velazquez and Murillo. London, 1883, p. 71, no. 168, calls it a repetition of the Prado portrait, which he dates about 1640. Paul Lefort. Velazquez. Paris, 1888, p. 147, lists it as a sketch for the Prado portrait, also listing two other sketches—in the collections of the duc de Montpensier, Palais San Telmo, Seville, and Sir Richard Wallace. Carl Justi. Diego Velázquez and His Times. London, 1889, p. 315, ill. p. 314 (engraving), dates the Prado painting between 1636–37 and remarks that although it depicts Olivares as a forceful leader charging into battle, the warmongering Count-Duke had never seen military action; notes that the pose probably derives from the school of Rubens or Van Dyck's portrait of Francesco Maria Balbi (Balbi Palace, Genoa); refers to our painting and the one in the Schleissheim Gallery [now Alte Pinakotek, Munich] as smaller replicas of the Prado painting, both "genuine originals, the former [ours] perhaps better executed than the large work" which, he believes, could be later than either; observes that the Prado painting differs in the color of the horse, the treatment of the middle distance, the battle-field, the clouds, and the tree to the right; describes our "splendid painting" as "the first [of the three] both in time and excellence" and praises its sense of color, draftsmanship, and "unsurpassed artistic power in so small a space". William Stirling-Maxwell. Annals of the Artists of Spain. 2nd rev. ed. [1st ed. 1848]. London, 1891, vol. 2, p. 725, calls it a fine, smaller repetition of the Prado portrait, which he dates shortly after Velázquez's return to Madrid from Italy in 1631. A. de Beruete. Velazquez. Paris, 1898, p. 109, dates the Prado portrait 1635–40 and observes that in its portrayal of the arrogant Olivares as a strong military leader, Velázquez expresses his gratitude to his patron; cites Justi's [Ref. 1889] belief that the present work and the Munich picture are original replicas by Velázquez of the Prado portrait but notes that, since he has not seen our picture, he cannot comment on its authenticity; considers the Munich example a very good copy or clever pastiche. A. de Beruete. Velazquez. Revised translation of 1898 ed. London, 1906, p. 78, adds that the Munich picture is a good copy by Mazo. R. A. M. Stevenson. Velasquez. London, 1906, p. 136, lists it among works by Velázquez owned by the Earl of Elgin. A. de Beruete y Moret. The School of Madrid. London, 1909, p. 91, dates the Prado portrait before 1643, when Olivares fell from power, and dates the Munich picture, which he believes to be a copy by Mazo, after 1643; remarks that our picture is identical to the Munich version, but that he has not seen it; mentions another similar work, formerly in Andalusia, present whereabouts unknown. August L. Mayer. Kleine Velazquez-Studien. Munich, 1913, pp. 31–32, dates the Prado portrait about 1634 and calls the Elgin painting [ours] and the one in Munich smaller variations of it; comments that although he has not seen the Elgin picture, it seems darker than the one in Munich and probably predates it; notes that an old inventory attributes the Munich picture to Gaspar de Crayer and suggests that it may be a contemporary Flemish copy of ours, which, in turn, may be a free replica by Mazo of the Prado portrait. August L. Mayer. Diego Velazquez. Berlin, 1924, pp. 108–9, calls our canvas a noteworthy free copy by Mazo of the Prado portrait and mentions that copies of the MMA painting are in Munich and in the Raczinski collection, Poznan. August L. Mayer. Dealer's certificate. September 23 and 24, 1925, after seeing the picture in London, where Lord D[uveen?]. had it brought for examination, states that it is undoubtedly a clever variation by Mazo of the Prado portrait but lacks Velázquez's fine modelling and unified manner of drawing; comments on its "superficial impressionism," particularly in the coarse brushwork and treatment of the foliage. Carl Justi. Diego Velazquez und sein Jahrhundert. [Zürich], 1933, pp. 453–56, refers to this painting and the Munich version as smaller, original repetitions, calling ours the earlier of the two, with a Venetian feeling for color; dates the Prado portrait to sometime shortly before 1634 and mentions two contemporary copies of it in Hertford House [now Wallace Collection, London] and at San Telmo [formerly duc de Montpensier, Palais San Telmo, Seville; present location unknown]. August L. Mayer. Velazquez: A Catalogue Raisonné of the Pictures and Drawings. London, 1936, p. 74, no. 313, dates the Prado painting 1634, the date of Jusepe Leonardo's "Taking of Breisach" (Prado), which he believes was copied from it; calls our picture "a characteristic work by Mazo" and lists three other copies and variants of the Prado painting in the collections of Count Raczinski, Poznan; the Wallace Collection, London; and a private collection, Lisbon, as well as the Munich picture, which he calls a studio work. Ellis Waterhouse. Catalogue of an Exhibition of Spanish Paintings from El Greco to Goya. Exh. cat., National Gallery of Scotland. Edinburgh, 1951, pp. 27–28, no. 37, pl. 1, notes that the equestrian portraits of Olivares could date from the early or late 1630s; considers this painting to be the first model for the Prado portrait, noting that the pentimenti around the hat and head support this view, and suggests that Olivares may have felt the white horse "stole too much of the picture" leading Velázquez to paint a chestnut horse in the final version; observes that since this picture was cleaned in 1947 "its character as an original has become more demonstrable" and comments that Mayer [Ref. 1936] attributed it to Mazo without seeing it. Enriqueta Harris. "Spanish Painting from Morales to Goya in the National Gallery of Scotland." Burlington Magazine (October 1951), pp. 310, 314, 317, notes that a recent cleaning has restored this painting to Velázquez's oeuvre, considers it too different to be a study for the Prado portrait, but observes that "there is no evidence that Velázquez ever painted models"; suggests it "was intended as a variant of the large picture, painted for a less formal purpose" and remarks that the pentimenti at the neck in both pictures suggest that the artist was working on both when he decided to change the stiff golilla collar to a lace one; asserts that both portraits were painted to commemorate the 1638 Victory of Fuenterrabía, as this was considered the "culminating point" of Olivares' career and is "corroborated by the topographical similarity of both backgrounds to the scene of this victory"; suggests that a common model, very likely by Rubens, could explain the similarity of the horse and rider in Leonardo's "Taking of Breisach" (Prado). "Masterpieces Recently Added to America's Collections." Art Digest 27 (December 1, 1952), p. 7, ill. Fritz Neugass. "Ein Valesquez [sic] für 74000 Pfund." Weltkunst 22 (November 1, 1952), p. 2, ill. on cover, calls it a variation by Velázquez of the Prado equestrian portrait; notes that on his return home in 1804, Lord Elgin, British ambassador to Constantinople, was detained for two years in Paris; there he bought our painting from Lemotteux in 1806 for £15,000. "Spanish Masterpiece for New York." Art News 51 (October 1952), p. 31, ill., states that it commemorates the Victory of Fuenterrabía and that it may be the preliminary study for the more formal Prado portrait. José Manuel Pita Andrade. "Los cuadros de Velázquez y Mazo que poseyó el séptimo Marqués del Carpio." Archivo español de arte 25 (July–September 1952), p. 230, discusses the 1651 inventory of the collection of Gaspar Méndez de Haro, 7th Marqués del Carpio, Olivares's great-nephew; believes that no. 240, an equestrian portrait of Olivares copied from Velázquez by Mazo, may be the Munich picture; remarks that if the MMA picture is indeed by Velázquez, then it may have served as the model for the Munich copy. "New York Notes." Art Digest 27 (October 1, 1952), p. 18, notes that the MMA curator, Theodore Rousseau, Jr., suggests it may be a sketch for a larger work. Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 4, ill. p. 29, as by Velázquez. M.S. Soria. "Las lanzas y los retratos ecuestres de Velázquez." Archivo español de arte 27 (April–June 1954), pp. 95–96, 98–99, 105, 108, pl. 3, calls it a very complete sketch by Velázquez, observing that he based six of his equestrian portraits at the Prado, our painting, and the horse on the right-hand side of "The Surrender at Breda" (Prado) upon a series of 1590 engravings of 12 Roman emperors on horseback by the Flemish artist Johannes Stradanus (Jan van der Straet, 1523–1605); compares the Prado and MMA portraits of Olivares to Stradanus' engraving of Emperor Otho; dates both paintings 1634–35 based on stylistic similarities to the group of equestrian portraits and "The Surrender at Breda," intended to hang in the Salón de Reinos at the Buen Retiro palace, completed in 1635; sees the battle scene in the background as inspired by the background of the Otho engraving rather than by the site of the 1638 victory of Fuenterrabía, and asserts that Olivares could have been painted in a military guise any time after 1625, when he was given the title General of the Cavalry of Spain. Bernardino de Pantorba. La vida y la obra de Velázquez: Estudio biográfico y crítico. Madrid, 1955, pp. 230–32, no. 162, ill., considers it a workshop copy of the Prado Olivares with retouches by the hand of the master; agrees with Beruete [Ref. 1906] that the Munich version is by Mazo; mentions another copy of our picture, not catalogued by Mayer [Ref. 1936], in the collection of Javier Sáenz de Heredia y Manzanos, Marqués de Vallcabra, Madrid;claims that Elgin bought the picture in 1805 while detained in Pau, France, as a prisoner of Napoleon [but see Ref. Neugass 1952]. Margaretta Salinger. "Notes." Metropolitan Museum of Art Bulletin 14 (January 1956), notes inside front cover, ill. cover (color), states that the battle depicted in the background probably commemorates the victory at Fuentarrabía, which would date this and the Prado portrait "at least as late as 1638". Kurt Gerstenberg. Diego Velazquez. [Munich], [1957], p. 102, pl. 93, compares the Prado portrait of Olivares with Rubens's equestrian portrait of the Duke of Lerma, calling Velázquez's composition unprecedented because of the diagonally positioned rider, turning his head before the horse gallops off; considers the MMA painting "undoubtedly authentic" and calls the Munich version a copy by Mazo. Juan Antonio Gaya Nuño. La pintura española fuera de España. Madrid, 1958, p. 328, no. 2887, lists it with works "attributed to Velázquez" as a sketch of the Prado portrait. Douglas Hall. "Nostalgia and Manchester in 1857." Connoisseur 140 (January 1958), p. 238, ill. Martin Soria in George Kubler and Martin Soria. Art and Architecture in Spain and Portugal and their American Dominions, 1500 to 1800. Baltimore, 1959, p. 385 n. 37, calls it a replica with variations of the Prado portrait; dates it 1634, contemporary with Velázquez's other equestrian portraits, noting that in this same year Jusepe Leonardo copied the pose of Olivares on horseback; considers the battle scene in the background symbolic, suggested by the Stradanus print without topographical resemblance to Fuenterrabía. Enrique Lafuente Ferrari. "Velázquez y los retratos del Conde-duque de Olivares." Goya (July–October 1960), pp. 70–73, ill. (overall and detail), dates the Prado portrait 1638 and considers our picture the best of its numerouos copies, an excellent work by Mazo; sees the MMA picture as clearly imitated, not created, noting Mazo's hand particularly in the landscape; mentions the painting of Olivares instructing Prince Baltasar in horsemanship (Duke of Westminster, London) as an example of Mazo's talent, noting that it is sometimes given to Velázquez. Juan de Contreras López de Ayala, Marqués de Lozoya. "El 'Caballo Blanco', de Velázquez." Varia velazqueña: Homenaje a Velázquez en el III centenario de su muerte, 1660–1960. Madrid, 1960, vol. 1, p. 325, pl. 72b, describes three large canvases of riderless horses (chestnut, white, and grey) listed in inventories made after Velázquez's death and suggests that these works, created with great verisimilitude, were copied by Velázquez and his assistants in many compositions, which he characterizes as a common practice among Spanish painters; believes that the chestnut horse was the model for the Prado portrait and that the white horse (Palacio Real, Madrid) was undoubtedly copied in the MMA portrait, adorned with the hanging ribbons that do not appear in any of Velázquez's other equestrian pictures; describes our painting as a copy with variations of the Prado portrait with the landscape rendered more abruptly, the sky more overcast, and the tree more finished; calls it a magnificent painting, regardless of its attribution. Velázquez y lo velázqueño: Catálogo de la exposición homenaje a Diego de Silva Velázquez en el III centenario de su muerte, 1660–1960. Exh. cat., Casón del Buen Retiro. Madrid, 1960, pp. 94–95, no. 99, pl. 59, as a sketch or perhaps a replica with variations of the Prado portrait. Juan Antonio Gaya Nuño. "Velázquez y lo Velazqueño." L'Oeil 74 (February 1961), p. 41, refers to it as a sketch, remarking that "ses couleurs sont si belles, et ses touches si savoureuses" that it is preferable to the Prado portrait; calls the Munich portrait an insignificant replica. "New York Visitor to the Velasquez Tricentennial." Art News 59 (February 1961), p. 31, ill., notes that although some historians think it is by Mazo, it is attributed to Velázquez in the exhibition of the latter's works in Madrid. D[iego]. A[ngulo]. I[ñiguez]. "La exposición de Velázquez. Actos del Centenario." Archivo español de arte 34 (January–March 1961), p. 97, believes the quality of the picture has been reaffirmed following its inclusion in the 1960 exhibition in Madrid. José López-Rey. Velázquez: A Catalogue Raisonné of His Oeuvre. London, 1963, pp. 198–202, no. 216, pls. 246, 250 (overall and detail), supports attribution of our picture to Mazo, commenting on its derivative character, most notably in the replacement of the precipice beneath the horse in the Prado picture with a slope similar to that in the Prado equestrian portrait of Philip IV; observes that "a prodigality of highlights—characteristic of Mazo—encumbers rather than lightens the modelling of both the rider and his mount" and that Olivares's head "lacks Velázquez's gliding touch of modelling in the round"; believes our picture is copied from both the Palacio Real white horse painting and the Prado portrait and is most likely the Mazo copy listed in the 1651 inventory of the Marqués de Eliche; mentions that the 1648 inventory of the Marqués's mother includes a larger equestrian portrait of Olivares, but with no indication of the artist or color of the horse; views the Munich picture and the Marqués de Vallcabra version as copies of ours; lists four other copies of the Prado picture: Museum Wilkopolskiego, Poznan (formerly Count Raczynski); Wallace Collection, London; Private collection, Lisbon; and formerly duc de Montpensier, Seville, present location unknown. Marquis de Lozoya in "El caballo blanco de Velázquez." Velázquez, son temps, son influence. Actes du colloque tenu à la casa de Velázquez (1960). Paris, 1963, pp. 123–24. Spanische Meister: Vollständiger Katalog. Munich, 1963, vol. 1, pp. 102–3, calls it a variation of the Prado Olivares, attributed with good reason to Mazo; states that Velázquez's equestrian portraits were often copied not long after their creation, including several copies of the Olivares portrait made between 1638 and 1643; regards the Munich portrait as a contemporary copy of ours. José Camón Aznar. Velázquez. Madrid, 1964, vol. 1, pp. 473–74, describes it as "a feast for the eyes; it is merry, succulent with color, alive with light," but considers the whitish tonality and dense opaque areas in the horse's head and background incompatible with Velázquez; finds the loose passages of brushstrokes here more characteristic of Mazo's technique and believes our picture is the Mazo copy in the collection of the Marqués de Eliche; calls the Munich painting a copy, but not by Mazo. Leo Steinberg. "José López-Rey, Velázquez: A Catalogue Raisonné of His Oeuvre." Art Bulletin 47 (June 1965), p. 286 n. 40, is convinced, after seeing it in Madrid in 1960, that it is "not by the hand that painted the great Olivares on a chestnut mount in the Prado". José López-Rey. Velázquez' Work and World. London, 1968, p. 126, pl. 85, refers to it as a small replica by Mazo, dating from the mid- or late 1630s; notes that part of Velázquez's role as court painter was to ensure that his assistants or other painters, such as Mazo, answered the demand for replicas or copies of his portraits. P.M. Bardi. L'opera completa di Velázquez. Milan, 1969, p. 97, no. 69a, ill., notes that it was once considered an autograph work, but subsequently judged a copy by Mazo of the Prado portrait, identifiable with a painting in the 1651 inventory of the Marqués de Eliche; assigns the Munich portrait to Mazo and lists five other workshop copies. Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 315 [rev., enl. ed., 1989]. José Gudiol. Velázquez, 1599–1660. New York, 1974, pp. 144, 330, no. 74, fig. 112 (color), dates it about 1632–33, calls it a replica with variations of the Prado painting, and is "absolutely convinced that this replica is as genuine a Velázquez as the canvas in the Prado"; also dates the Prado painting to 1632–33, as it was copied by Jusepe Leonardo in his "Taking of Breisach" of 1634–35 (Prado); observes that the MMA painting has a "more sensuous quality than the one in the Prado, but the overall unification is perhaps not quite so successful". Enriqueta Harris. "Velázquez's Portrait of Prince Baltasar Carlos in the Riding School." Burlington Magazine 118 (May 1976), p. 272, finds it similar in style to the recently cleaned "Prince Baltasar Carlos in the Riding School" [Duke of Westminster, London; see Ref. Lafuente Ferrari 1960] and, because she is convinced that the latter is by Velázquez rather than Mazo, believes the same must be true for our picture; rules out Mazo as too young to be the painter of the "Riding School," which she dates 1636 based on the age of the Prince; notes that although their scale is rare in Velázquez's surviving oeuvre, small paintings by him are documented in contemporary records; states that the many visible pentimenti in the "Riding School" would not appear in the work of a copyist and that the painting, which depicts Olivares standing alongside the young prince on horseback, may have been made for the Count-Duke. John Ingamells. Letter to Dean Walker. December 11, 1979, considers it a contemporary workshop copy, observing that "the question seems to be what occasion would Velazquez have had to produce such a small replica of himself, quite apart from certain heavy passages in the execution". José López-Rey. Velázquez: The Artist as a Maker, with a Catalogue Raisonné of His Extant Works. Lausanne, 1979, pp. 128, 354 n. 1, pl. 41, calls it as a small replica by Mazo, probably from the mid-1630s, and states that "a prodigality of highlights, alien to Velázquez and characteristic of Mazo, betrays the latter's hand". John Moffitt. "Velázquez, Olivares y el significado del retrato ecuestre del Siglo de Oro." Iconografia e iconologia: Ciclo de conferencias. November 22, 1981, in a lecture at the Universidad Literaria de Valencia, defends this picture as autograph. Walter A. Liedtke and John F. Moffitt. "Velázquez, Olivares, and the Baroque Equestrian Portrait." Burlington Magazine 123 (September 1981), pp. 529–37, fig. 35, suggest that both Velázquez and Mazo were involved in the painting, or that it was the result of some other collaborative effort within Velázquez's studio; date the Prado portrait about 1636 and suggest that it was commissioned by Olivares to celebrate his reputation as a horseman; see these equestrian portraits as glorifying Olivares's authority and skill as a military leader rather than commemorating the victory at Fuenterrabía; examine contemporary poetry and emblemata, citing examples in which skilled horsemanship is equated with rulership; identify the pose of the horse as a "levade" and illustrate numerous works of art with a similarly posed horse and rider that could have inspired Velázquez. Eva Nyerges. "El retrato de don Baltasar Carlos en el Museo de Bellas Artes de Budapest." Archivo español de arte 56 (April–June 1983), pp. 148, 150, judging from a photograph, attributes our picture to Alonso Cano, commenting on its similarity in technique and color to a portrait of Prince Baltasar Carlos (Museum of Fine Arts, Budapest) that has been ascribed to Cano. Jonathan Brown. Velázquez: Painter and Courtier. New Haven, 1986, p. 292 n. 27, supports López-Rey's [Ref. 1979] attribution to Mazo and identification of this portrait with the one in the 1651 inventory of the Marqués de Eliche. John F. Moffitt. "The Count-Duke of Olivares on Horseback: An Emblematic Equestrian by Velázquez." Konsthistorisk Tidskrift 55 (1986), pp. 149, 151–55, 158–60, 163–65, fig. 2, dates it between 1627 and 1633, most likely 1632; considers it a preliminary study for the Prado version and equal in quality; reproduces an engraved emblem of a rider on a rearing horse with similar harnesses, and a similarly described landscape, entitled "In adulari nescientem" ["To him unable to flatter," Andrea Alciata, Leyden, 1550, emblem 35]; transcribes the emblem's commentary, in which a good horseman is compared to a capable ruler; also transcribes a pivotal letter from Olivares to the king of Sept. 4, 1626, in which he reprimands Philip for not attending to the business of government and includes the phrase "I must never flatter nor lie to you"; finds this emblem a more likely source for Velázquez's equestrian image than Stradanus's Emperor Otho [see Ref. Soria 1954]; concludes that this composition should be interpreted as a "political document" alluding to Olivares's dominating force in guiding the king to govern. Maurice Sérullaz with the collaboration of Christian Pouillon. Velázquez. New York, 1987, p. 88, refers to it as the most famous of several copies of the Prado portrait, generally attributed to Mazo. Walter Liedtke. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York, 1989, p. 33, colorpl. 23, calls it a smaller version of the Prado portrait, variously attributed to Velázquez, to Mazo, and to Velázquez and studio; dates the Prado picture about 1635–38 and finds its composition closer to Tempesta's engraving of Julius Caesar than to Stradanus's Otho [see Ref. Soria 1954]; believes it was commissioned by Olivares to commemorate his horsemanship, "a realistic record of his skill in an aristocratic pursuit, and of the discipline, patience, and pride required to master it. At the same time, the painting was an emblem of Olivares's authority...". Julián Gállego. Velázquez. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 153–59, 165, no. 19, ill. (color, overall and detail), calls it a reduced copy of the Prado portrait and notes that many scholars attribute it to Mazo; suggests that Olivares may have hesitated over the color of his mount and discusses the connotations of a white horse as appropriate for a general; tentatively includes the Marqués de Eliche in the provenance for our picture. Nina Ayala Mallory. "La pintura de Velázquez, en Nueva York." Goya (January–February 1990), p. 234 [Spanish translation of Ref. Mallory, Art in America, 1990]. Nina Ayala Mallory. "Courtly Natures: Velázquez at the Met." Art in America 78 (February 1990), p. 135, calls it "undoubtedly" the copy by Mazo listed in the 1651 inventory of the Marqués de Eliche; confirms the attribution to Mazo after comparing the MMA and Prado paintings in the 1989 MMA exhibition; observes that "just the painting of the sash should eliminate all possibility of the small picture being a reduced version painted by Velázquez himself, for he would not have tried to duplicate the detail of the sash so literally". Enriqueta Harris. "Madrid: Velázquez at the Prado." Burlington Magazine 132 (April 1990), p. 290. Julián Gállego in Velázquez. Exh. cat., Museo Nacional del Prado. Madrid, 1990, pp. 259, 262–63, ill. (color), mentions it as one of various replicas and copies of the Prado portrait, with variations, and illustrates it with the caption "Velázquez (?)". Francesca Boris and Giampiero Cammarota. "La collezione di Carlo Broschi detto Farinelli." Accademia Clementina: Atti e memorie 27 (1990), pp. 211, no. 86, pp. 227–28, pl. 197, identify it as no. 86 in the 1783 inventory of Carlo Broschi (Farinelli): "un quadro nella sua cornice indorata rappresenta un Cavaliere armato sopra un Cavallo bianco, di mano di Velasques. Figura intiera mezzana; alto P.3:03 largo P.2:0.8" [if these dimensions are in palmi romani, the painting would have measured about 27 x 18 in. and could not be the MMA painting]; state that Farinelli must have doubted his painting when he saw the original version at the home of the Marqués de Ensenada (now Prado) during his trip to Spain; suggest that a copy made after Farinelli's picture by Gaetano Gandolfi surfaced on the art market in 1980. John F. Moffitt. Velázquez, practica e idea: Estudios dispersos. Málaga, 1991, pp. 173–93, fig. 2, [Spanish translation of Ref. Moffitt 1986]. Alfonso Emilio Pérez Sánchez in "Catalogue of an exhibition held at the Spanish Pavillion, Seville World's Fair, April 20–Oct. 12, 1992." Treasures of Spanish Art. Exh. cat.[Barcelona], 1992, pp. 108, 110, believes the Prado portrait was probably based on the composition of Leonardo's "Taking of Breisach," rather than the reverse; notes that equestrian portraits with rearing horses were rare in Spanish painting of this time, reserved for monarchs and powerful generals; calls the MMA painting the best of several copies from Velázquez's workshop and "surely the work of Martínez del Mazo". Xanthe Brooke in Spain, Espagne, Spanien: Foreign Artists Discover Spain, 1800–1900. Exh. cat.New York, 1993, p. 33, fig. 15, notes that the Earl of Elgin lent this picture in 1819 to an exhibition held in the Edinburgh art gallery of the portrait painter, Raeburn [see Exh. Edinburgh 1819]. José López-Rey. Velázquez. Cologne, 1996, vol. 2, p. 164 n. 1, attributes it to Mazo and identifies it as the painting in the 1651 inventory of the Marqués de Eliche; also mentions an equestrian portrait of Olivares, similar in size, listed as an "original by Velázquez" in the 1654 will of Diego Rodríguez, a little-known painter in Madrid. Marcus B. Burke and Peter Cherry. Collections of Paintings in Madrid, 1601–1755. Los Angeles, 1997, vol. 2, pp. 157, 464, 477, fig. 50, link this picture with the Mazo copy in the 1651 inventory of the Marqués de Eliche. Carmen Garrido. Letter to Dulce Román. October 29, 1997, believes it is a good picture made after the Prado portrait, but not by Velázquez; observes that it "lacks the fluency and exactness of line found in Velázquez's paintings" and that "the horse and rider are of a higher quality than is the landscape". Yves Bottineau. Vélasquez. Paris, 1998, p. 175, fig. 141, attributes it to Mazo, from the collection of the Marqués de Eliche. Santiago Alcolea. Velázquez. 2nd ed. Barcelona, 1998, p. 18, fig. 46 (color), dates it and the Prado portrait around 1632–33; attributes ours to Velázquez. María del Mar Doval Trueba. "Los 'velazqueños': Pintores que trabajaron en el taller de Velázquez." PhD diss., Universidad Complutense de Madrid, 2000, pp. 178–79 [http://eprints.ucm.es/2528/], considers the Munich version a copy of ours, which she identifies with the work in the Marqués del Carpio's inventory. Jonathan Brown. "Velázquez y lo velazqueño: Los problemas de las atribuciones." Boletín del Museo del Prado 18, no. 36 (2000), pp. 54–56, fig. 4 (color) [reprinted in English in "Jonathan Brown, Collected Writings on Velázquez," New Haven, 2008, pp. 365–66, fig. 2 (color)], remarks that measurements given in seventeeth-century inventories tend to be approximate, although it should be noted that our painting is about 27 cm narrower than the one mentioned in the inventory of the Marqués del Carpio; nevertheless sees our picture as a workshop product and finds the attribution to Mazo plausible, at least temporarily, on the basis of style. Salvador Salort Pons in Velázquez. Exh. cat., Palazzo Ruspoli, Rome. Milan, 2001, p. 202, refers to it as attributed to Mazo. Velázquez: El pintor de la luz. Madrid, 2001, p. 322, notes that it has not been possible to establish Velázquez's authorship of this painting with certainty. Amador Schüller Pérez. La patología en la pintura de Velázquez. Madrid, [2002], pp. 65–66. Salvador Salort Pons. Velázquez en Italia. Madrid, 2002, pp. 253, 393, colorpl. 214, identifies it as the Mazo copy in the inventory of the Marqués de Eliche, based on its dimensions; suggests this picture was also in the collection of the Italian singer Carlo Broschi, known as "Farinelli" [see Ref. Boris and Cammarota 1990]; notes that Farinelli's heirs quickly dispersed his collection after his death. Eduardo Agüera Carmona. "La conformación morfológica y otros aspectos ecuestres de los caballos de Velázquez." Velázquez (1599–1999): Visiones y revisiones. Córdoba, 2002, pp. 206–7, ill. Jesús Sáenz de Miera in Cortes del Barroco: de Bernini y Velázquez a Luca Giordano. Exh. cat., Palacio Real de Madrid and Palacio Real de Aranjuez. Madrid, 2003, p. 216, no. 5.1, ill. (color), calls it a work by Mazo after Velázquez. María del Mar Doval Trueba. "Alonso Cano, Velázquez y los 'Velazqueños'." Goya no. 298 (January–February 2004), p. 29, discusses the life-size portrait of Olivares in the Pushkin Museum, Moscow, noting that its expert handling reminds us of Velázquez without corresponding exactly to his manner; states that the smaller portraits in Dresden and the Metropolitan are derived from the Pushkin painting. Matías Díaz Padrón. "Sugestiones e influencias del arte flamenco en la obra de Velázquez." El arte foráneo en España: Presencia e influencia. Madrid, 2005, p. 351, believes the Prado original derives from Van Dyck's engraving of Alberto de Ligne, count of Aremberg, on horseback; calls the MMA picture a reduced copy by Mazo with a white horse, attributed to Velázquez by the Museum, "which is not aware that the picture came from the collection of the Marqués del Carpio, where it was cited as a Mazo". Wolf Moser. Der Fall Velázquez: Antworten. Munich, 2005, p. 135 [mistakenly uses plate for Madrid painting], lists our picture and the Prado version under Velázquez and Workshop. Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 86, 88. Giorgia Mancini et al. in Velázquez. Exh. cat., National Gallery. London, 2006, pp. 38, 180–81, no. 26, ill. (color), notes that "of the different versions of this portrait, the present replica is the closest to Velázquez" and that "some scholars have ascribed it to Velázquez, considering it either a study for the painting in the Prado or an autograph replica," while others have attributed it to Mazo. Javier Portús in Velázquez. Exh. cat., National Gallery. London, 2006, pp. 58, 67 n. 14, calls it probably the equestrian portrait of the Count-Duke that is ascribed to Mazo in the inventory of the Marqués del Carpio. Peter Cherry. "Velázquez, London." Burlington Magazine 149 (January 2007), p. 52, observes that "the name of Juan Bautista Martínez del Mazo (c. 1610–67) is routinely invoked before paintings of evident quality in Velázquez's manner, and a prime candidate for one of these here is the 'Count-Duke of Olivares'" [the present work, in exhibition at National Gallery, London]. Marc Fumaroli. De Rome à Paris: Peinture et pouvoirs aux XVIIe et XVIIIe siècles. Dijon, 2007, p. 186, ill. (color). James Macdonald. "La valoración de Velázquez en el mercado internacional." En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano. [Seville], [2008], pp. 136, 337. Matías Díaz Padrón. "Propuesta a tres Velázquez discutidos: 'San Francisco en éxtasis,' 'El conde duque de Olivares' del Metropolitan y 'Las meninas' de Kingston Lacy." En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano. [Seville], [2008], pp. 243, 245, 385–86, figs. 91, 93 (overall and detail), calls it "without any doubt an excellent painting," but notes that the brushwork "reveals a clear difference between this painting and the original in the Museo del Prado," a sign of "the master's greater sensitivity". Peter Cherry. "Juan Bautista Martínez del Mazo, copista." En torno a Santa Rufina: Velázquez de lo íntimo a lo cortesano. [Seville], [2008], pp. 250, 254, 388, 390, attributes it to Mazo, observing that he does not appear to share Velázquez's artistic concerns: "he does not depict the dust raised by the horse's hooves and blown by the wind, nor its sweaty coat, which epitomizes the artist's naturalistic response to the challenge of the 'mimesis' of classical antiquity". Fernando Checa. Velázquez: The Complete Paintings. [Antwerp], 2008, p. 149, observes that among the numerous versions of the Prado portrait, this one is of the highest quality, although it is probably not by Velázquez; notes that it has been attributed to Mazo and was listed as such in the collection of the Marqués de Leganés [sic for Marqués del Carpio]. Miguel Morán in Velázquez: Las Meninas and the Late Royal Portraits. Exh. cat., Museo Nacional del Prado, Madrid. London, 2013, p. 89 n. 23.
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text: We spent two nights here and wished we had time to stay longer. The Posada is a beautifully adapted ancient town house close to the town wall. Our room was quite small but very pretty with great views over the valley. There was a small landing equipped with comfy chairs and reading material. Breakfast was good, served by the owner... More

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Yūko Takeuchi (竹内 結子 Takeuchi Yūko, born April 1, 1980 in Saitama, Saitama, Japan) is a Japanese actress. She made her big break with NHK's television series Asuka and JT Green's commercial. She has gone on to star in many TV shows, movies, and commercials.
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Mindy is so determined to help Peter with his living situation that her own relationship with Danny gets a little complicated.
The Mindy Project
Plus, he explains the difference between a stylist and a costume designer (never call him the former).
Mindy sets up Danny's mom, Annette, on a blind date that leads to a crazy sequence of events culminating in a date – and possibly even true love in "How to Lose a Mom in Ten Days."
Danny gets himself into trouble when he reads Mindy's diary in "Diary Of A Mad Indian Woman."
Tue November 18 2014
Tue November 18 2014
Mindy is forced to act as a mentor to the residents at the hospital, and Danny gets himself into trouble when he finds, and can't help but read, Mindy's diary in the all-new episode, "Diary of a Mad Indian Woman."
Pace will play Alex, a handsome San Francisco tech millionaire who took Mindy's virginity back when he was a dorky college student.
Season 3
Aired Nov 25 2014
Episode 9


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The Hotel H10 Salauris Palace is a real winner on the location front – it's close to the beach, PortAventura theme park, and the town centre.
When it comes to locale, the H10 Salauris Palace is heard to beat. Llevant Beach is less than a 15-minute walk away and PortAventura Park is just up the road.
The pool hogs the limelight at this hotel, with the huge sun terrace and buffet restaurant following closely on its heels.
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Twin room with pool view sleeps 3 adults or 2 adults and a child up to 12 years.


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Shop The Video: Beyoncé '7/11' view
Tina Knowles' Caché Picks view
Style Evolution: Lisa Bonet view
Where: The 2012 Hammer Gala at Hammer Museum in Westwood, California.Why: Tracee works...
Where: The 2012 Hammer Gala at Hammer Museum in Westwood, California.
Why: Tracee works a traditional polka dot style with a little tangerine twist, but keeps it classic with platform suede pumps. Get the look!
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Crime Alert
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Move the mouse pointer over the scrolling crime alerts area below to pause the scrolling below. Also viewable as a non-scrolling page or by smartphones at this link.
Armed Robbery on Campus
Armed Robbery / University-Related
November 19, 2014
University of Maryland, Baltimore Police report an armed robbery occurred on campus Wednesday evening. At approximately 6:15 pm Wednesday a School of Medicine staff member was running westbound in the 800 block of West Baltimore Street when he was confronted by two men, one armed with a handgun, who demanded his property. The victim surrendered his backpack, but before he could also surrender his purse, a passerby appeared and the two suspects fled. The suspects were last seen running northbound toward Fairmount Avenue in the alley between the Poppleton Garage and a construction site.
The suspects are described as black males, both approximately 5' 9" to 5'10" tall and wearing dark clothing. One of the suspects was wearing a dark ski mask.
Police urge you to walk in groups if possible, remain aware of your surroundings, and don't walk and talk or text. Surrender property if confronted. And report suspicious activity at 711 on campus, or 410-706-3333. Escorts are available on foot 24 hours a day, and by van during most hours. Call 410-706-6882 to arrange for a security escort.
Assault/Robbery on Campus
In compliance with the "Timely Notice" provisions of the federal Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act of 1998 the University Police are giving notice of an incident that was reported to have occurred.
The Baltimore Police Department Southern District is investigating an assault and robbery that occurred at approximately 8:50 pm on November 12, 2014. BPD reported to University of Maryland, Baltimore Police that a Johns Hopkins University student was walking southbound on the west side of the unit block of Martin Luther King Boulevard, between Baltimore and Lombard Streets, when he was confronted by two men who demanded his property. The victim refused to surrender his property and was beaten and robbed. The two suspects were last seen fleeing westbound on Hollins Street.
Both suspects are described as tall African-American males wearing dark clothing.
Police urge you to walk in groups if possible, remain aware of your surroundings, and don't walk and talk or text. Surrender property if confronted. And report suspicious activity at 711 on campus, or 410-706-3333. Escorts are available on foot 24 hours a day, and by van during most hours. Call 410-706-6882 to arrange for a security escort.
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Former G.O.O.D. Music associate Consequence has opened up about splitting ways with Kanye West and how their publicized estranged relationship has warranted resentment from fans.
Asked about the treatment he's received from fans since publicly going separate ways last fall, Cons came clean on the divide of supporters.
"That's a situation that involves family, friends and fans on Twitter," Cons answered in an interview. "So there was a lot of spears being thrown at everybody, and the natives were getting restless. I never had to deal with that, because I've always been an artist with a considerable amount of respect and love. Even if people didn't like me specifically, they were really respectful about saying it. All that sh*t came to a screeching halt. People were like, 'Motherf*cker, how the f*ck you gonna be dissing Kanye?' and 'You bit the hand that fed you!' Mind you, I have a mortal mind like every other man, but I also have a very strong will. That's what has kept me so diligent over the years." (Hip Hop DX)
Earlier this month, Cons revealed his contribution to all of West's albums to date.
"It is true I participated in writing with Kanye. You could read it on credits on 808s and Heartbreaks, College Dropout. Every album that he's had, I've been involved from a creative aspect in writing of songs," Cons said. "Check the credits, I get that publishing." (MTV)
Cons also said West went into a music hiatus following his publicized 2009 Taylor Swift MTV VMA Awards interruption and ultimately left him stranded.
"At one point, Kanye wasn't even doing any music after the Taylor Swift situation, it's documented he went to Europe," Cons said, alluding to 'Ye's 2009 MTV VMAs outburst. "In the midst of all that, I was left hanging…As a man, you can't hang your fate on no other man, but when you think the man is your brother and you talk about every other single situation known to man, you would think it would dawn on somebody to say, 'Hey, let me make sure this all right, let me make sure my guy is good.' If I'm not your guy, that's fine; let's just have clarity on it." (MTV)
Last fall, he dropped his "Man Purses" record which subliminally went at G.O.O.D. Music.
"I ain't like the rest of these dudes," Cons raps on the song. "I ain't in to man purses or the bland verses/I put more emphasis, on what the fans purchase/I hear Cam's verses, over 'Runaway,' if they ain't writing, the new dudes ain't got nothing to say/But what's the sense of having soldiers who don't kick bars/If you can smell the odor from the discharge…" ("Man Purses")
Check out some recent Consequence footage below:


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A fashion film to welcome the Melbourne Summer.
The Velvet Underground- I'll Be Your Mirror
The Velvet Underground- Sweet Jane
(RIP Lou Reed)
Video: Hugues de Robillard
Model: Ivana Martyn/ Chadwicks
Photographer: Filip Konikowski
Styling: Chantelle Asciak
MUA: Emily Leungpew
Assistant: Elliot Ryan
Clothing Supplied by:
Alpha 60
Jonte at Gusto and Elan
Siren shoes
Angel diamond dot
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Michael Russo has covered the National Hockey League since 1995. He has covered the Minnesota Wild for the Star Tribune since 2005, after 10 years of covering the Florida Panthers for the Sun-Sentinel. He uses "Russo's Rants" to feed a wide-ranging hockey-centric discussion with readers, and can be heard weekly on KFAN (100.3 FM) radio and seen weekly on Fox Sports North.
Also find Russo on Facebook.
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With Darcy Kuemper sidelined with an upper-body injury, the Wild has recalled John Curry from the Iowa Wild to back up Ilya Bryzgalov (4-0-2, 2.15 GAA) Thursday night against the Chicago Blackhawks. If Kuemper is out for awhile, the Wild has one back-to-back left (at Winnipeg on Monday, vs. Boston on Tuesday). Bryzgalov would probably get both games.
The Wild has also recalled center Jake Dowell, a former Blackhawk, with Mikael Granlund likely sidelined for a bit with an upper-body injury.
Coach Mike Yeo could either put Dowell or Cody McCormick as fourth-line center. I'd think Erik Haula moves up to second-line center because the Zach Parise-Mikko Koivu-Charlie Coyle line is going real well, so why fiddle with that and bounce Coyle back to center again?
I saw Granlund after the game in L.A., and he had a red raspberry-looking mark under his left eye. He was walking slowly and definitely had a disappointed look on his face when talking to teammate Mikko Koivu.
Replays show that Granlund's head smacked right into Kings forward Jarret Stoll's left shoulder as Granlund got the worst of a check he tried to make.
Granlund, who has a history of concussions, missed 13 of 14 games with a concussion earlier this season after taking three hard hits in a six-game stretch from Toronto's Nazem Kadri, Ottawa's Marc Methot and Phoenix's Connor Murphy (actually, similarly, Granlund tried to initiate this check and got the worst of it when Murphy protected himself).
The one game Granlund played in that stretch, he lasted 29 seconds, so that was basically a missed game.
The Wild struggled without Granlund. In that 14-game stretch, Minnesota went 6-7-1 with 23 goals. But, remember, this is a Wild team that survived with Koivu, Zach Parise, Jared Spurgeon and Josh Harding out at the same time, so it has proven before that it is, dare I say, resilient (I actually hate that term in sports, so I may as well use it).
No doubt Yeo gives the old day-to-day line with Granlund, but we'll try to find out more after today's 1:30 p.m. practice in Chicago. Obviously, if it's a concussion, there's just no way to accurately give a timetable, so it would be truthfully day-to-day. These head injuries with Granlund are becoming a true concern. Remember, he came to the NHL with a history of them.
I never saw Nino Niederreiter after the L.A. game, but word yesterday was it's not supposed to be serious and he's considered questionable for Thursday's game. I'll let you know on Twitter in three hours if Niederreiter indeed practices. If he doesn't and can't play Thursday, the Wild has Dany Heatley waiting in the wings. The Wild is 2-0 without Heatley, incidentally.
Christian Folin, signed out of UMass-Lowell Monday, will practice for the first time today. He is eligible to play in any of the remaining six regular-season games (not playoff eligible). I cannot imagine Yeo plays him until he gets some practice time under his belt and only if there comes a point where maybe the Wild's locked into that top wildcard spot later next week.
Who knows if the Wild will ever get that breathing room. Dallas took over the second wildcard spot last night, has a game in hand and a cupcake schedule the rest of the season. The Stars are playing outstanding right now and just annihilating teams. Phoenix, which could be in trouble, lost in a shootout last night to Winnipeg, fell to ninth and plays in L.A. tonight.
Both teams are four back of Minnesota, which just further displays how gigantic the Wild's comeback wins at Detroit, Phoenix and Los Angeles were.
Yeo's in a tricky spot with Folin. I'm always fascinated when a team is still in a playoff race and then parachutes a rookie into the locker room. Chicago's done that with Teuvo Teravainen and Matt Carey and has lost three in a row. I think the smartest thing to do is just practice Folin and play him the last game or two if the Wild's locked and the team wants to rest guys like Ryan Suter or Jared Spurgeon.
Speaking of D, it'll be interesting to see if the Wild plays Jon Blum against Chicago. The Wild's won two in a row and got solid play from its blue line. But Keith Ballard could be ready to return. If Ballard returns, one would think it would be for Blum. If that were the case, I'd think Marco Scandella and Jonas Brodin become a pair again and Ballard gets paired with Nate Prosser.
I'll be back later after practice to update the blog, but follow me on Twitter at www.twitter.com/russostrib for real-time updates later.
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Susan Matt and Luke Fernandez: Before MOOCs, 'Colleges of the Air'tags: MOOCs, Chronicle of Higher Ed., Susan Matt, Luke Fernandez, Weber State University, radio
Susan Matt is chair of the history department at Weber State University, and Luke Fernandez is Weber State's manager for program and technology development.
In 1937, as she lay ill in bed, Annie Oakes Huntington, a writer living in Maine, thought of ways to spend her time. She confided in a letter: "The radio has been a source of unfailing diversion this winter. I expect to enter all the courses at Harvard to be broadcasted." Huntington was joining in an educational experiment sweeping the country in the 1920s and 30s: massive open on-air courses.
As educators contemplate the MOOCs of our day—massive open online courses—they would do well to consider how earlier generations dealt with technology-enhanced education.
We are not the first generation to believe that technology can transcend distance and erode ignorance. Nearly a century ago, educators were convinced that radio held that same potential. The number of radios in the United States increased from six or seven thousand to 10 million between 1921 and 1928. Many universities explored the possibility of broadcasting courses across the country and allowing anyone to enroll. Some onlookers believed those courses would transform higher education and eliminate lecture halls and seminar rooms. One observer noted, "The nation has become the new campus," while another celebrated the "'University of the Air,' whose campus is the ether of the earth, whose audience waits for learning, learning, learning."...
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- Harvard's Steven Shapin Wins History of Science Award
- Middle East Studies Association Fights a Rising Tide of Critics
- Juan Cole says the postwar Middle East governments were modeled on the Soviet Union, though not communist (interview)
- Ted Widmer picks the 5 best presidential books worth reading
- AHA backs California's LGBT History law


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RAS Technology Workshop July 31 - August 1, 2014
The Recirculating Aquaculture Systems (RAS) Technology Workshop is a 2-day workshop July 31-August 1, that is designed for a broad audience. A few of the topics covered include developing an appropriate design for your aquaculture application, the management of recirculating systems, waste management issues and economic considerations. We will seek to provide non-biased, research-based information to those that are interested in, or those using recirculating aquaculture fish production systems. The information presented comes either from the first-hand research results and experiences of the presenters or those of collaborators or colleagues around the world. Workshop registration includes a technical workbook, memory stick with applicable resource materials, break refreshments, and lunch every day.
You may follow this link for workshop details or fax in your completed registration form found here: PAES_RAS_WORKSHOP
RAS WORKSHOP: SUMMER 2014 GENERAL DIRECTIONS AND SUGGESTED LODGING To maximize your mobility while in the Apopka/Orlando area, we highly recommend that you rent a car during your visit. AIRPORTS: Orlando International Airport: 1 Airport Boulevard, Orlando, FL 32827 Orlando International Airport to Apopka, FL
Sanford International Airport 1200 Red Cleveland Blvd. Sanford, Florida 32773 Sanford International Airport to Apopka, FL
GENERAL INFO AND DIRECTIONS: Pentair Aquatic Eco-Systems, Inc. 2395 Apopka Blvd. Apopka, FL 32703 Directions to Pentair Aquatic Eco-Systems Green Sky Growers 146 W Plant St Winter Garden, FL 34787 Directions to Green Sky Growers
HOTELS: HOLIDAY INN EXPRESS Directions to Holiday Inn Express (Apopka) Holiday Inn Express to Green Sky Growers Holiday Inn Express to Pentair Aquatic Eco-Systems HAMPTON INN & SUITES Directions to Hampton Inn & Suites (Apopka) Hampton Inn & Suites to Pentair Aquatic Eco-Systems Hampton Inn & Suites to Green Sky Growers HILTON ALTAMONTE SPRINGS Directions to Hilton (Altamonte Springs) Hilton to Pentair Aquatic Eco-Systems Hilton to Green Sky Growers
CAMPING: (407) 889-4179 Kelly Park/Rock Springs (*Recommended) Kelly Park to Pentair Aquatic Eco-Systems Kelly Park to Green Sky Growers Browse all Orange County, FL Parks: http://www.ocfl.net/tabid/350/default.aspx *Be sure to stay close to Pentair Aquatic Eco-Systems Inc., located at 2395 Apopka Blvd., Apopka, FL 32703.
Newer News
- Pentair Showcases Integrated Water Reuse, Wastewater Treatment and Flow Management Solutions at WEFTEC 2014


text:
Breach of Contract
Edit Page Last Edit: 1 year 1 month ago
Breach of Contract is a Strangers and Freaks mission for Trevor.
|Dirty Rat
| Kill Josh before escaping
|Hot Pursuit
| Escape in the parked Police Cruiser
Josh sells you out to the cops and they start chasing you. Lose your wanted level to complete the mission.
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text:
A National Cancer Institute-designated Comprehensive Cancer Center
Make an appointment: 800-826-HOPE
Patient Care
Education and Training
About City of Hope
Patient Care
Education and Training
About City of Hope
Support Services Calendar
City of Hope's Biller Patient and Family Resource Center Support Services calendar is easy to use, offers great flexibility and has many capabilities. To get started, click on an event title below or use the filters in the right column. You can subscribe to the Biller Resource Center calendar and also choose how you receive calendar notices, whether through weekly emails or downloads. Or you can select the Biller Resource Center events that most interest you, download them to Outlook or other personal calendars and even R.S.V.P. online for specific events.
Living with Cancer
Support Services Calendar
Quick Links
Living with Cancer
Here you will find tips, tools and resources to help you and your family cope with the issues that arise during and after cancer treatment.
Navigate resources below...
Overview - Coping with Cancer
Caregiver's Guide
Children, Teens and Young Adults
Communication and Relationships
Getting Support
Managing Symptoms and Side Effects
Managing Work, School or Home Life
Patient Activities and Support Groups
Patient and Survivor Stories
Support Services Calendar
Supportive Care Medicine
What is an Advance Directive?
Supportive Care Calendar
Biller Resource Center
City of Hope | Duarte offers an integrated array of cancer support services and resources through the
Sheri & Les Biller Patient and Family Resource Center.
Read More
Positive Image Center
Positive Image Center
is where licensed cosmetologists support and assist patients with building and maintaining self-confidence in their appearance. Patients can access wig fittings and stylings and discuss cosmetic techniques.
Read More
School Program
City of Hope's School Program helps children, teen, and young adult patients continue their education while undergoing treatment. For more information, please contact Kayla Fulginiti, M.S.W., School Program Coordinator at 626-256-4673, ext. 62282.
Read More
Advance Directive Information
Learn more about the importance of making an advance directive.
Click here
for more information about our program.
Thanksgiving food safety tips for all (especially cancer patients)
Preparing a Thanksgiving meal is a huge responsibility, not just in terms of taste and presentation, but also in terms of food safety. Special care must be taken when handling, assembling and cooking the feast – and this is never more true than when your guests will include immunosuppressed patients, such as c...
Read More
Control the 'spread': Healthy Thanksgiving recipes and tips
Celebrating the holidays with family and friends can be festive, but most of us definitely overeat. The average Thanksgiving meal is close to 3,000 calories – well above the average daily recommendation of 2,000 calories. Here, we serve up some tips from City of Hope dietitians Dhvani Bhatt and Denise Ackerman ...
Read More
For a (secretly) healthier Thanksgiving, try these recipe substitutions
A healthier Thanksgiving doesn't have to mean a big plate of raw carrots and kale – not that there's anything wrong with that. Instead, it can amount to a small change here, a small change there, and maybe a tweak beyond that. Dietitians at City of Hope, which promotes a healthful lifestyle as a way...
Read More
Bone marrow recipient sees gift of life go full circle. 'Karma,' she says
Joselyn Miller received a lifesaving bone marrow transplant at City of Hope two years ago. Here, she reflects on her gratitude as a bone marrow recipient and on giving back. By Joselyn Miller thank•ful adjective \ˈthaŋk-fəl\ : conscious of benefit received : glad that something has happened or not happened, ...
Read More
Cancer in your family history? Your genes are not your destiny
When it comes to cancer, your family history may provide more questions than answers: How do my genes increase my risk for cancer? No one in my family has had cancer; does that mean I won't get cancer? What cancers are common in certain populations and ethnicities? City of Hope experts have some guidance. "Your...
Read More
Made in City of Hope: T cells – enlisting the immune system to beat cancer
The body's immune system is usually adept at attacking outside invaders such as bacteria and viruses. But because cancer originates from the body's own cells, the immune system can fail to see it as foreign. As a result, the body's most powerful ally can remain largely idle against cancer as the disease progres...
Read More
One mother's journey through adoption and neuroblastoma
On Jan. 1, 2015, five City of Hope patients who have journeyed through cancer will welcome the new year with their loved ones atop City of Hope's Tournament of Roses Parade float. The theme of the float is "Made Possible by HOPE." The theme of the parade is "Inspiring Stories." Her...
Read More
Thinking about e-cigs for the Great American Smokeout? Think again
Are you thinking about switching from traditional cigarettes to e-cigarettes for the Great American Smokeout? Are you thinking that might be a better option than the traditional quit-smoking route? Think again. For lung expert Brian Tiep, M.D., the dislike and distrust he feels for e-cigs comes down to this: Th...
Read More
Hematologist gets $100,000 NCI grant for lymphoma research
Hematologist Robert Chen, M.D., is boosting scientific discovery at City of Hope and, by extension, across the nation. Just ask the National Cancer Institute. The institution recently awarded Chen the much-sought-after Clinical Investigator Team Leadership Award for boosting scientific discovery at City of Hope...
Read More
If you fit these three criteria, you should get lung cancer screening
Great strides have been made in treating cancer – including lung cancer – but by the time people show symptoms of the disease, the cancer has usually advanced. That's because, at early stages, lung cancer has no symptoms. Only recently has lung cancer screening become an option. (Read more about the risks...
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The future is here: $8 million CIRM grant will launch stem cell clinic
Identifying cures for currently incurable diseases and providing patients with safe, fast and potentially lifesaving treatments is the focus of City of Hope's new Alpha Clinic for Cell Therapy and Innovation (ACT-I). The clinic is funded by an $8 million, five-year grant from the California Institute for Regene...
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Couples and cancer: 10 tips for better communication
Cancer is a couple's disease. It affects not just the person diagnosed, but his or her partner as well. It also affects the ability of both people to communicate effectively. The Couples Coping with Cancer Together program at City of Hope teaches couples how to communicate and solve problems as a unit. He...
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Made in City of Hope: COH29, a better cancer drug
Chemotherapy drugs work by either killing cancer cells or by stopping them from multiplying, that is, dividing. Some of the more powerful drugs used to treat cancer do their job by interfering with the cancer cells' DNA and RNA growth, preventing them from copying themselves and dividing. Such drugs, however, l...
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Lung cancer is a silent killer of women; if you're at risk, get screened
During October, everything seems to turn pink – clothing, the NFL logo, tape dispensers, boxing gloves, blenders, soup cans, you name it – in order to raise awareness for what many believe is the most dangerous cancer that affects women: breast cancer. But, in addition to thinking pink, women should...
Read More
13-year-old leukemia survivor has one true hero: her brother
In February 2003, when she was only 16 months old, Maya Gallardo was diagnosed with acute myelogenous leukemia (AML) and, to make matters much worse, pneumonia. The pneumonia complicated what was already destined to be grueling treatment regimen. To assess the extent of her illness, Maya had to endure a spinal ...
Read More
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© 2014 City of Hope and the
City of Hope logo are
registered trademarks
of City of Hope.
City of Hope
1500 East Duarte Road
Duarte, CA 91010
City of Hope strongly supports and values the uniqueness of all individuals and
promotes a work environment where diversity is embraced.


text:
Sometimes it's hard to figure out how to get rid of old stuff. Many communities host events to reuse or recycle those old items.
Here's how it works:- Find out what is being collected at the next upcoming Recycling Extravaganza-Pack up your car, and drive to the location - usually a big parking lot.- As you drive thru the parking lot, volunteers help you unload your unwanted items at different stations.- The items are donated to charity, if possible, or properly recycled, otherwise.Ongoing and upcoming events are listed below or in the calendar to the right. Usually these events are in the spring and fall. Unless otherwise noted, all events should be open to the public.
For each event, be sure to check the list of items accepted -- each community decides what to collect. If books are collected, its usually a book exchange; bring books you don't want and you can take books that have been donated by others. Result: Reuse before Recycle!
Wheaton, Elmhurst and SCARCE hosted the first pumpkin recycling collections in DuPage County! All pumpkins were composted in Illinois!
Pumpkin facts:
Cooking Oil Collection
Thanksgiving Weekend
Saturday, November 29
Drop off cooking oil for recycling at one of these collection sites:
Elmhurst Public Works Garage, 9am-noon985 S. Riverside Dr.
Itasca Village Hall, 9am-noon550 W. Irving Park Rd.
LaGrange Park Fire Station #1, 9am-noon447 N. Catherine Ave
Naperville Fire Station #4, 9am-2pm1971 Brookdale Rd.
River Forest Village Hall, 9am-noon400 Park Ave.
Roselle Police Station Parking Lot, 9am-noon103 S. Prospect
Villa Park Behind Village Hall, 9am-noon20 S. Ardmore
Wheaton Public Works Garage, 9am-noon821 W. Liberty
Wheaton Sanitary District, 10am-noon1S640 Shaffner
Winfield Township Road District, 7am-11am30W575 Roosevelt Rd
If you can't make one of these special collections, there are 6 ongoing collection locations. Click on "read more" for permanent locations.
These are drive through recycling/reuse events. NO hazardous waste, paint, refrigerators, or smoke detectors. Air conditioners and dehumidifiers ONLY where specifically listed.
ComEd offers a $25 rebate for recycling your old working fridge or freezer. Make an appointment for ComEd to pick up your fridge or freezer for free and receive your rebate. Schedule today at Comed.com or call 888-806-2273. This program is part of ComEd's Smart Ideas® energy efficiency programs. Since the program launched two years ago, they have helped residents save the amount of energy required to power about 75,000 homes for one year. The numbers have exceeded goals set by ComEd in June of 2008!
Willowbrook Wildlife Center is a rehabilitation and education center, owned and operated by the Forest Preserve District of DuPage County. They have a extensive list of items that are needed year round to care for native and passing migrant wildlife in DuPage County. Next time you're hosting a party, ask guests to bring an item from the wish list in lieu of a hostess gift.
Check out what is needed on their Wish List.
The Holiday Lights colleciton is back on for the 2014-2015 season! Thank you to Elgin Recycling for working with us once again!
Lights accepted include: Italian mini-lights, traditional lights, extension cords, rope lights, LED lights. Lights can be in working or non working condition, from any holiday!
SCARCE collects holiday lights all year long!
630-545-9710 • email@example.com • 799 Roosevelt Rd.• Building 2, Suite 108 • Glen Ellyn, IL 60137Approved IL Professional Development Provider (PDP#100363) • 501(c)(3) Non-profit Website by Dreamcatcher WebsitesCopyright 2003-2010 • All Rights Reserved


text:
Love these dogs
I don't watch the whole show, but I love to see the dogs competing in the Westminster Dog Show each year.
It's fun to see the behind the scenes work that goes into the competition. Check out the work of New York Times photographer Fred Conrad.
Be sure to read his Behind the Lens blog too.Copyright © 2014, The Baltimore Sun


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Simple yet delicate findings come to mirror my emotions (m)
I have half a notion to hide from them, like I do my reflection (n)
The coarse expectations from peers leave me drowning (m)
And I know I can't go around allowing them to control me (n)
If I walk the path that isn't made for me then there is no light that dwells in the dim tunnel
and the trouble is ,my tunnel is supposed to end with you, You're supposed to be the light that shines on me and right on through . I'll be the prism of colors you yearn for when depression hovers over you
Just a Vegas city boy
And a Kansas city girl
Sometimes they are never home
And Sometimes it makes me feel like an unopened expired bag of M&N;'s
Every time I hear the obnoxious,
mainstream slang "you fake"
I can't help but think
about how true it is
sure, sure, it's slang,
it's thrown around and not meant
to be taken seriously
But i look around
and see that all of my peers
are everything but what they describe themselves as
we are what we insult others of
They laugh, and joke, and help each other with work
but as soon as one leaves the table or the room,
they all turn on that one person.
My peers always have something that they won't say to your face.
People always ask me
if i'm okay, what's wrong, etc, etc, etc.
but don't they ever notice the behavior
of our peers? of themselves?
I notice my flaws all the time
I analyze my behavior all day
but the truth is
that I'm perfectly fine,
I'm sane,
i'm just ranting, all day, in my head
analyzing the actions of others and those of myself
I cant bear to even talk anymore
because I know my peers now
i've analyzed their voice,
and i know that if i were to speak
i'd get shot down so much worse
than if i just sit here
and pretend i don't exist
If ya' can handle the pier pressure,
do whatever floats yer boat
and there'll be clear sailing ahead.
But, if ya can't,
you'll sink faster than a biscuit
at an all-you-can-eat buffet.
The innocence of children
Brutally ripped
Out of their tiny palms
Babies cry innocently--
Without worries--
The future that awaits them
My own innocence has abandoned
Me--I am
What is left of me?
say what's in this drink?
coz I don't really think
that that's such a good plan...
you know how I am
with peer pressure
and the shapes that you make with your lips
are all the most convincing kinds.
the hair on heads is to keep the warmth in
so why cut it
I'm full of
the bullshit
that resides in my
these hedonists that slice
at my skin and my soul.
I'm old and tiredly awake.
The assholes won't let me sleep.
They bite my guts with greedy teeth.
I become water…I become grain…
sowed by sadism and adultery.
They transfuse
into me and
I evolve into
something horribly new.
No more my artistic aura,
my classical sense—
Just a specter of gloom
and dust floating
in the structure of a self I can't really recall.
This is my holy downfall.
We all pay for life with death
So why worry about what's it between
Smile and drink this shit down
You ain't gonna live forever
So what you waiting for
Take the red pill first
Followed by two of these little blues
Snort this line and we'll ride the night
High enough to forget chasing dreams
What are you waiting for
Empathy goes a long way
with wusses, don't you think?
The tough ones don't have feelings
just razor-wire for guts and time-bombs for hearts
emotions replaced with Hulk smashes and knife gashes
she said
"Let's be friends" she said
"We can chase air and lick butterflies"
He said "Only if you die first"
he only had dead friends
they smell amazingly disgusting and have WORMS for EYES!
She cried.
He almost felt sad, he thought
but he realized it was just hunger
for scared screams and others' insecurities
impurites of rhythm and logic just soft chalk cells
washed away by urine from an angry bladder
getting madder and madder
maybe, if feelings were so prevalent.
there are signs on everyone's faces,
they all say it's time to go,
and i just know it is.


text:
Is your resume in need of a little disruption?
Startups are all about
making things work better.
Our resume writing service is all about doing that for your CV.
StartUpHire is the place to find jobs at San Francsico startups. Review the list below of San Francsico startup jobs. These San Francsico, CA jobs at start-ups represent some of the most rewarding careers available. You can refine your job search for San Francsico jobs by adding a job title, company name, or keyword to the search box above … or click the "Advanced Search" link for more options. Don't see the employment opportunity you're looking for? Check back soon for more startup jobs in San Francsico, or sign up for an email alert (link in upper left) to receive periodic updates on new start up jobs in San Francsico, CA.
Think you've got the design skills to wow over 100 million users each month? Then Yelp wants to hear from you. We're looking for a designer that can create world class user interfaces that visually amaze but are simple to use. We are currently looking for summer interns. You8/24/2014 San Francisco, CA Save This Job
PMs at Yelp do a lot. In this role, you will work with a team of top notch engineers to make sense of user data, empower our salesforce, and extend our platform through partnerships. With millions of people visiting Yelp each month, we generate a ton of data. You will build8/24/2014 San Francisco, CA Save This Job
Recruiting the best and brightest new grads is one of our top priorities at Yelp. We pound the pavement, check-in at career fairs, and explore campuses to suss out five-star students who will do the next big thing at Yelp. And we have a great time doing it. We?re looking for8/24/2014 San Francisco, CA Save This Job
Marketing is a small but scrappy team of marketing pros that promotes Yelp to millions of businesses around the world. Yelp is looking for a top-notch marketing communications professional to lead and develop our marketing communications to these millions of local businesses.8/24/2014 San Francisco, CA Save This Job
Yelp?s frontend engineering team sits at the nexus of our design, product, and engineering teams, ensuring that Yelp looks awesome, and has equally awesome code. We?re constantly looking to expand our team and take on new and exciting challenges. If you care about good code,8/24/2014 San Francisco, CA Save This Job
We have a talented team of software engineers here at Yelp and we need more! We are hiring students pursuing a Bachelor's, Master's, or Doctorate degree to join our dedicated Sales & Marketing Infra team. In this role, you will be directly involved in the implementation of8/24/2014 San Francisco, CA Save This Job
Yelp is looking for an application security engineer to keep us safe and sane as we build out our desktop, mobile, business owner, and administrative websites. It's an opportunity to have tremendous impact and broad scope protecting Yelp's data, our 117M+ monthly users, and our8/24/2014 San Francisco, CA Save This Job
Yelp has fundamentally changed the way consumers discover and connect with businesses. Now Yelp is helping marketers drive business through our rapidly expanding user base. The primary responsibility of the Client Partner is to work with existing clients and grow their spend8/24/2014 San Francisco, CA Save This Job
Yelp is looking for a Business Solutions - project management superstar to join the San Francisco office. This person will be responsible for driving process and technology solutions for a portfolio of projects across Yelp?s enterprise. This person will partner with several8/24/2014 San Francisco, CA Save This Job
Yelp's Finance team is looking for an Assistant Controller to be the point person for the company?s day-to-day US accounting operations, reporting to the Corporate Controller. Accounting operations includes General Accounting, Revenue, Accounts Receivable, Collections, and8/24/2014 San Francisco, CA Save This Job
Are you research savvy, detail oriented, and a creative thinker? Are you currently searching for an opportunity to launch your post-college career? Do you Yelp before every decision, spend hours a week on TechCrunch, and dream of starting your own company someday? Then come join8/24/2014 San Francisco, CA Save This Job
Yelp is looking for a razor sharp paralegal to join its small but fabulous legal team. This role has a litigation focus, but extends across a wide range of legal issues affecting Yelp?s websites and mobile applications worldwide. Responsibilities include: General litigation8/24/2014 San Francisco, CA Save This Job
Are you a driven sourcer of technical talent and a fearless closer? Can you hunker down with an engineering team, assess its needs and build an efficient process to grow the team exponentially? Is your network full of immovable objects like mobile developers and hardcore Python8/24/2014 San Francisco, CA Save This Job
The HRIS Analyst will enjoy a dynamic and challenging environment with an engaged and energized team, located at in our Yelp Headquarters in San Francisco. This person will have an in depth knowledge of our HR business processes and systems to provide outstanding support in the8/24/2014 San Francisco, CA Save This Job
Yelp is seeking an exceptional business development candidate to focus on revenue partnerships and become a key member of Yelp's Business Development team. Responsibilities Support new strategic partnerships to expand Yelp revenue Support and, as your career grows, take the8/24/2014 San Francisco, CA Saved Job
Yelp Biz Ops & Strategy is chartered with identifying and driving strategic and operational improvements that deliver sustainable increases to contribution, traffic and/or financial results. As Associate, Biz Ops & Strategy, you will take the initiative to meet and exceed8/24/2014 San Francisco, CA Save This Job
Our mobile team is lucky. Yelp is the richest source of local data in the world, and we get to build all that content into location-aware mobile apps. We're bringing our 57M+ reviews to our millions of app lovers all around the globe. We push Yelp's frontier, adding new products8/24/2014 San Francisco, CA Save This Job
Yelp's Palo Alto Engineering team creates software infrastructure that tackles terabytes of data everyday. We also like pipes (the data kind). Team members love building tools and technologies that other developers and product owners enjoy using on a daily basis. We are8/24/2014 Palo Alto, CA Save This Job
Have you heard? Yelp is growing and we?re looking for Sales Managers to join as key members of Yelp?s Local Sales team. With over 138 million unique monthly visitors to the site, a rapidly expanding user community, and a built-in forum for consumer interactions, Yelp is a8/24/2014 San Francisco, CA Save This Job
Yelp is looking for an Account Coordinator who has exceptional communication skills, is detail oriented, and has the ability to juggle multiple tasks at one time. The Account Coordinator responsibilities include: supporting the post-sales process, ensuring flawless campaign8/24/2014 San Francisco, CA Save This Job


text:
Portable Document Format (PDF) is a file format used to represent documents in a manner independent of application software, hardware, and operating systems
Women's top sewing pattern available for download. Available in various sizes and is produced by burda style magazine.
Comfy jersey tops don't have to be boring. This one has an alluring keyhole peeking out from an unusual knotted neckline. It's fun to sew and cool to wear.
This pattern is from the Safari Spirit collection.
This pattern is also included in the Summer Style 2014 Coastal Classics Collection.
Fine jersey fabrics, soft tulle. Use only fabrics with 4-way stretch.
Stretch cotton jersey,
width: 150 cm (59 ins)
length: 1.60 – 1.60 – 1.60 – 1.65 – 1.65 – 1.65 m
(1 3/4 – 1 3/4 – 1 3/4 – 1 7/8 – 1 7/8 – 1 7/8 yds).
Vilene Bias Tape/ stay tape.
A twin machine needle.
This pattern doesn't include seam allowance
Produced by burda style magazine
Mar 3, 2014, 07.18 PMby nelsonaguilar
como se descargan los patrones—???
Feb 19, 2014, 12.33 PMby PennyMac
So glad you made this top – it caught my eye from the start, but it's always good to see it made up by a member. It looks as good on you as it did in the pattern, so I'll definitely be making one. Thanks for the fabric recommendation. As soon as I've finished my current nightmare project, I'll be making this!
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text:
|Position move may create deeper shots for Young
|Written by Admin
|Thursday, 30 October 2008 00:00
Many college coaches wouldn't consider a position switch with a player coming off so good a season. Pitt coach Jamie Dixon is experimenting with such a move for the 6-foot-6 Young, partly to make better use of his outside shooting ability.
Young is working at small forward rather than power forward during preseason practice, a switch that may allow him to regularly step behind college basketball's deeper 3-point line - now 20 feet, 9 inches, or a foot farther back than last season.
The Panthers' outside shooting has been an ongoing problem despite their run of seven consecutive NCAA tournament appearances. Surprisingly, Young was the best deep shooter among their starters last season, a rarity for an inside player.
percent (28-of-101) and shooting guard Ronald Ramon's 37.2 percent (67-of-180). Keith Benjamin shot 37 percent (51-of-138). Both Ramon and Benjamin have used up their eligibility.
``I'm 100 percent ready to play any position they need me to play,'' said Young, who led Pitt to a 27-10 record, the Big East Conference tournament title and the NCAA round of 16.
Young doesn't think the deeper 3-point line will affect his shooting.
``Not even a little bit,'' he said. ``As soon as we found out it was going to be changed, coach Dixon got a new (line) put on our court. We've been shooting with it ever since. I think we're all just as comfortable with it as before.''
Not that Pitt looked all that at ease with the shorter line. The Panthers' 33.5 percentage beyond the arc ranked only 12th in the 16-team conference and was the worst among the Big East's top teams.
As evidence of those long-range shooting problems, Gilbert Brown may start the season as the shooting guard, despite his 24.4 shooting percent from 3-point range. The Panthers' best outside shooter may be Ashton Gibbs, a 6-foot-2 freshman who shot 48.1 percent while making 113 3-pointers as a first-team all-state player at Seton Hall Prep in New Jersey.
bounds while winning the outstanding player award at the Big East tournament.
Opposing defenses must adjust if Young steps outside a bit more, and he thinks that may be an advantage to him.
``Shooting off the dribble and just dribbling the ball in general is going to be a lot different from what anybody's used to with me,'' Young said. ``I spent a lot of time and a lot of sweat on my ballhandling drills and shooting off the dribble. I expect that to really improve. My defense and my ballhandling are the two areas I picked to work on the most.''
One potential benefit from the deeper 3-point line for a Pitt team that has never shot particularly well behind it: There might be more space inside for 6-7 center DeJuan Blair, who averaged 11.6 points and 9.1 rebounds as a freshman.
``I don't want to miss as many shots as I did in the paint last year, so I'm working on some dunks,'' Blair said. ``I think I've developed a shot, but we'll see about that. I worked real hard on my game around the basket.''
Pitt plays exhibition games Sunday against Seton Hill and the following Sunday against La Roche before opening the season Nov. 14 against Fairleigh Dickinson.