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PEDER THE PAINTER (19th Century art)

 She said to me "I want to go to Scandanavia " and although my response was ok lets go deep down , my heart sank .I didnt really fancy it. Why ?

For the reasons that Londoners never really leave London unless they have to. For instance, you can't find many from the Square Mile who have even been to Scotland. Proper Londoners dont see the fascination in going to places like Sweden and Norway and Denmark. But she was Italian so we went and it was a journey that in the end had a reason .

 I found a great painter. 

 Journeying across Scandanavia was in the end fun . Its a place where you spend lots of money and dont think its gonna be good in the culinary stakes . Once I went into a fish place in Trondheim and they served fish fingers . But that said I did find  Peder Severin Kroyer

At the end of the 19th century, Skagen was cut off from the rest of Denmark, as it was really hard to reach the town without the railway, so you had to take a horse from Frederikshavn and because there was no harbour, the ships had to sail further out on the west coast, despite the wild waves which made it dangerous to reach the land.

The old fishing village in Skagen inhabited about 2000 citizens who lived a simple and hard life. The fishing village is near Grenen, where Skagerrak and Kattegat meet and  one of the most beautiful places of Denmark can be found here and one which inspired the artists to transform the world of art.

It  is a village in the northernmost part of Denmark.

From the late 1870s until the turn of the century, a group of Scandinavian artists descended on Skagen every summer.

It was the light that drew them.

A translucent light that merged the sea and the sky—especially during the evening “blue hour”.Influenced by the “en plein air” techniques of French Impressionist painters like Claude Monet, they broke away from traditions taught at the academies and developed their own unique styles.

The long beaches stretched for miles and miles …

Cultural personalities like Steen Steensen Blicher, Vilhelm Kyhn and H. C. Andersen, all sought to visit the area around Skagen in the middel of the 19th century. 

.Between 1877 and 1881, Krøyer travelled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists – Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Édouard Manet.

He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period.

On a trip to Paris in 1888 he encountered Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married on 23 July 1889 at her parents' home in Germany. Marie Krøyer, who was also a painter and became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child, a daughter named Vibeke, born in January 1895. They were divorced in 1905 following a prolonged separation.

Krøyer's eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, he painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye.

Krøyer died in 1909 in Skagen at 58 years of age after years of declining health. He had also been in and out of hospitals, suffering from bouts of mental illness.

Krøyer's best known and best-loved work is entitled Summer Evening on Skagen's Southern Beach . He painted many beach scenes featuring both recreation life on the beach (bathers, strollers), and local fishermen.

Another popular work is Midsummer Eve Bonfire on Skagen Beach (Sankthansbål på Skagen strand), 1906. This large-scale work features a great crowd of the artistic and influential Skagen community gathered around a large bonfire on the beach on Saint John's Eve (Midsummer Eve).

Both of these works are in the permanent collection of the Skagens Museum which is dedicated to that community of artists, including those who gathered around Krøyer, a great organizer and bon vivant.

1.Who influenced Pedar

2-Where did he meet his future wife

3. What kind of painting did he do ?

4- What do you think about this painting?

• 

  The Hirschsprung family portrait, 1881

 
• 

  In the store when there is no fishing, 1882

 
• 

  Artists' Luncheon at Skagen, 1883

 
• 

  Fishermen hauling nets, North Beach, Skagen, 1883

 
• 

  Summer Day on Skagen's Southern Beach 1884

 
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  Committee for the French Art Exhibition in Copenhagen 1888, 1888

 
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pension working 2

 

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CONSULENZA FISCALE 15 DIC 2021 - 11:07

Pensione scuola: quando si può restare in servizio fino a 71 anni?

Di Patrizia Del Pidio

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Il trattenimento in servizio non può più essere chiesto se non dai lavoratori che non hanno maturato diritto alla pensione.

Con la riforma della pubblica amministrazione il trattenimento in servizio oltre i 67 anni è stato quasi del tutto abolito e lasciato in vigore solo per permettere, a chi non li ha raggiunti entro i 67 anni, di centrare i requisiti per l’accesso alla pensione di vecchiaia.

Rispondiamo ad una nostra lettrice che ci scrive:

Buona sera,sono una collaboratrice scolastica, avrei bisogno di un informazione,io nel 2022 compio 67 anniquindi dovrei andare in pensione, ma avendo più di 5anni di contributi versati a partire dal 1996 esiste la legge che si può rimanere in servizio fino a 71? Grazie desidererei una risposta

In servizio fino a 71 anni

Al compimento dei 67 anni i dipendenti della pubblica amministrazione sono posti a riposo d’ufficio obbligatoriamente. Non è più possibile, quindi, chiedere il trattenimento in servizio a meno che al compimento dell’età indicata il lavoratore non ha raggiunto il diritto alla pensione.

In quali casi, quindi, il trattenimento in servizio può essere richiesto e accordato?

Nel caso che al compimento dei 67 anni il lavoratore non ha maturato almeno i 20 anni di contributi che gli permettono l’accesso alla pensione di vecchiaia può richiedere il trattenimento in servizio a patto che maturi il requisito contributivo richiesto entro il compimento dei 71 anni.

Nel caso, invece, che il lavoratore al compimento dei 67 anni ha tutti i contributi versati a partire dal 1996 e pur avendone maturati 20 anni non riesce ad andare in pensione di vecchiaia. Per chi ricade interamente nel sistema contributivo, infatti, oltre ai 67 anni di età ed ai 20 anni di contributi è richiesto anche che l’assegno di pensione spettante sia di un importo non inferiore a 1,5 volte l’assegno sociale INPS, Se a mancare è il requisito dell’importo dell’assegno, quindi, il lavoratore può permanere in servizio fino al compimento dei 71 anni. Ma questo si applica solo ai lavoratori che non hanno nessun contributo versato prima del 1996.

Un altro caso in cui il trattenimento in servizio può essere richiesto è qualora il lavoratore, avendo contributi che ricadono interamente nel sistema contributivo (versati a partire dal 1996) non raggiunge i 20 anni di contributi minimi richiesti ma ne ha versati almeno 5 anni per accedere alla pensione di vecchiaia contributiva al compimento dei 71 anni: in questo caso, non avendo raggiunto il requisito anagrafico necessario (71 anni) può permanere in servizio per altri 4 anni.

Per quanto riguarda, quindi, la sua domanda può permanere in servizio solo un caso: non deve aver maturato il diritto alla pensione di vecchiaia ordinaria. Se, invece, ha contributi versati prima del 1996 e ne ha maturati almeno 20 anni deve andare in pensione. Così come, deve andare in pensione, anche  se, pur avendo tutti i contributi versati dopo il 1996 ne ha almeno 20 anni e l’assegno spettante supera di 1,5 volte l’assegno sociale INPS.

I 5 anni di contributi versati a partire dal 1996 non sono un requisito per il trattenimento in servizio se si hanno contributi versati prima di quella data.

THE VICTORIAN COMPROMISE

 THE VICTORIAN COMPROMISE 

The Victorian period was a time of contradiction, often referred to as the Victorian Compromise: on the one hand there was the progress brought about by the Industrial Revolution, the rising wealth of the upper and middle classes and the expanding power of Britain and its empire; on the other hand there was the poverty, disease, deprivation and injustice faced by the working classes. It was a hypocritical society infused with moral corruption and while you could be sent to prison for  reading  Zola there were brothels where young children could be raped and nothing was said about it if you were one of the establishment .

The change brought about by the Industrial Revolution was rapid: towns and cities grew at an incredible pace as new factories and industries were started and thousands of people moved to the cities for work.

 The inventions, developments and new industries showed how advanced the country was and how it was a world power. The upper classes continued to prosper and the middle classes had the possibility to improve themselves and their fortunes.

 Under Queen Victoria’s reign (1837-1901) the values of the Church, family and home were fundamental. The family unit was based around the authoritarian father, with the mother in a submissive role. Morality and respectability were key, and society became almost puritanical. Monuments and buildings were constructed to celebrate civic identity and pride. Philanthropy and charity were important, so libraries, wash houses and swimming baths were also built to allow members of the working classes to improve themselves. 

However, in reality, this was hardly possible. The mortality rate, disease and deprivation faced by the working classes in Victorian towns and cities across the country were some of the worst in the civilised world. 

People were forced to live in overcrowded rooms, in degraded slums with a lack of hygiene. Young children were forced to work, for example in textile mills, mines and as chimney sweeps, and poverty and debt were considered crimes to be punished with imprisonment. 

It is clear that the morals, beliefs and values of the Victorians were not reflected in the reality of the society around them. Nonetheless, this contradiction meant many reformers fought to improve and change conditions for the working and lower classes, particularly in areas such as health and education. 

Warm up 

1 Can you remember the dates of Queen Victoria’s reign? 

 choose the correct option. 

1 What is the purpose of this text? A To explain the effects of the Industrial Revolution. B To criticise Victorian morals. C To describe the incongruities in the Victorian period. D To talk about the power of the British Empire. 

2 Why did towns and cities grow so quickly? 

 A People no longer wanted to live in the countryside. 

 B There were so many new industries and factories. 

 C The upper classes had more money to spend.

 D The middle classes moved to the towns and cities.

 3 What were conditions like for the working class in Victorian Britain? 

 A They were different depending on the location of the town. 

 B They were similar to many other places in the world.

 C They were better than most other places in the world. 

 D They were worse than most other places in the world.

 internet research 

4 What happened to poor people or those in debt?

 A They were made to work harder and longer hours. 

 B They were helped by charitable organisations. 

 C Their children were made to work. 

 D They were put in prison. 

 Which sentence best describes the Victorian Compromise?

 A There was an enormous difference between Victorian values and the reality of Victorian life. 

 B The upper classes did not want to make compromises in order to help the lower classes. 

 C The lower and working classes did not want to improve their position.

 D There was a huge contrast between the public life and private life

Find out about one of these topics regarding the Victorian period and write a short report. 

 • Life in a workhouse •

 Life as a child chimney sweep

 • Middle class family life 

FLOWERS

 PEACE 

Whether they were offered to soldiers at the Pentagon in 1967 or handed out to demonstrators at the Women’s March in 2017, flowers epitomize peaceful protest. We slide them through a ponytail in a quiet gesture of defiance. We weave a dandelion crown in an homage to summer, joy, and love. They say, “I will not fight.” They are dissidence of the highest, most beautiful order. “I will meet your ugly with my inalienable beauty.” “I will meet your hate with dignity and grace.” A horticultural “When they go low, we go high.”

PASSION AND LOVE

Going to a dinner and giving the wife who is hosting you red roses would not be good move as her husband might get angry because the Rose the red one symbolises passion 

Have you ever realised that ‘rose’ is an anagram of Eros, the Greek god of love? Greek mythology tells it that Chloris, the goddess of flowers, was walking in the woods one day when she came across a lifeless nymph. Saddened by its untimely demise, she transformed it into a flower so beautiful that it would be judged The Queen of Flowers by all of Mount Olympus. Aphrodite, the goddess of love and mother of Eros, named it ‘rose’ in honour of her son. 

The rose’s association with devotion can be traced back to another Greek myth. Legend has it that when Aphrodite discovered a murder plot against her mortal lover, Adonis, she dashed through a rose bush to warn him and cut her ankles on its thorns. Her blood turned the white petals red. 

POWER 

THE WARS OF THE ROSES 

In order to celebrate the  union of England , the white rose emblem of the Yorkists, and the red rose of the Lancastrians were combined to create the Tudor Rose, which comprises five red outer petals, and five white inner ones.

 Henry the Seventh had finally finished the wars of the roses and he created a badge where the roses of both warring parties were emblazoned into one. In those day it meant a powerful symbol of power

 WILLIAM WORDSWORTH

Wordsworth one of the greatest English poets wrote about flowers frequently. Here is his most famous

I wandered lonely as a cloud

That floats on high o'er vales and hills,

When all at once I saw a crowd,

A host, of golden daffodils;

Beside the lake, beneath the trees,

Fluttering and dancing in the breeze.

SHAKESPEARE 

‘When daffodils begin to peer,
With heigh! the doxy over the dale,
Why, then comes in the sweet o’ the year;
For the red blood reigns in the winter’s pale.’

THE GREAT WAR

Poppies were a common sight, especially on the Western Front. They flourished in the soil churned up by the fighting and shelling. The flower provided Canadian doctor John McCrae with inspiration for his poem 'In Flanders Fields', which he wrote whilst serving in Ypres in 1915. It was first published in Punch, having been rejected by The Spectator. In 1918, in response to McCrae's poem, American humanitarian Moina Michael wrote 'And now the Torch and Poppy Red, we wear in honor of our dead…'. She campaigned to make the poppy a symbol of remembrance of those who had died in the war.

Artificial poppies were first sold in Britain in 1921 to raise money for the Earl Haig Fund in support of ex-servicemen and the families of those who had died in the conflict. They were supplied by Anna Guérin, who had been manufacturing the flowers in France to raise money for war orphans. Selling poppies proved so popular that in 1922 the British Legion founded a factory - staffed by disabled ex-servicemen - to produce its own. It continues to do so today.

Other charities sell poppies in different colours, each with their own meaning but all to commemorate the losses of war. White poppies, for example, symbolise peace without violence and purple poppies are worn to honour animals killed in conflict.

The poppy continues to be sold worldwide to raise money and to remember those who lost their lives in the First World War and in subsequent conflicts.