Thursday, February 29, 2024

MUDASTI? já chega de roubo do p.s.


gender-equality ranking

 será que a esquerda se cala... ou ainda não CHEGA?

Finland, Portugal and France top EU workplace gender-equality ranking

Hungary, Cyprus and Czechia come bottom

Finland has the most gender-equal workplaces in the EU, followed by Portugal and France, with Hungary bottom of the ranking just below Cyprus and Czechia, finds a new study by Swedish personal finance news channel Finansvalp.

The research is based on analysis of Eurostat data of women in parliament and national government, as well as women in senior management and executive roles, alongside median net income by gender in EU member countries.

Finansvalp said Finland, which scored 36.86 out of a potential 50, ranked highest for women in senior roles and women in national government, with 72.4% of seats in national government held by females. However, the data also reveals a gender pay gap in Finland of 6.35%, while Portugal, a close second in the overall ranking on 36.09, records a higher median net income for women than men, making it the only EU nation where female workers earn more.

But Portugal’s metrics in other measures record the sixth-lowest share of female executives, with women accounting for 19.6% of executive roles at the country’s largest listed companies.

France’s score was driven by a large percentage of women in leadership roles, Finansvalp said. Women account for 46.1% of board members at France’s largest listed companies, the highest of all EU countries.

Hungary sat at the bottom of the ranking, with a score of just ten out of 50, after recording zero women in seats at national government level and the lowest number females in parliament in any EU country. Cyprus was 26th on 14.62 and Czechia in 25th place on 15.29.

Bulgaria registers the highest gender pay gap of all 27 member states at 10.69%, followed by Lithuania at 10.28% and Latvia at 8.09%.

Olle Pettersson, finance expert and CEO of Finansvalp, said: “In the last 20 years, the number of women holding seats at national government and national parliament level in the EU has risen by over 50%, while the share of female board members at the largest publicly listed companies has exploded by 312%.”

“If the trend of greater female representation continues in senior positions across the EU, we should hopefully see the gender pay gap reduce, making many countries more inclusive places for women to work,” he added.

Gender-equal workplace score

rethinking retirement


A small minority rethinking retirement



Here’s a bit of good news for industries worried about the loss of industry knowledge and talent as more Americans retire: About one-fourth of them have no plans to leave the workforce and about 10% of them are delaying retirement.

According to a survey of 560 older Americans by Medicare technology company Medicare FAQ, 23% of retirees struggle to find purpose and fulfillment in retirement and 20% regret retiring early if they chose to do so.

Money is also an issue: 78% regret that they didn’t save enough money or prioritize finances.

The survey also found that the transition from working full-time to being retired “can be tough,” and 22% of retirees say this transition was “harder than they anticipated.”

Don’t get too excited, human resources peeps: Overall, 93% of retirees said they now have time for things they couldn’t do while working full-time.

Wednesday, February 28, 2024



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February 21, 2024
A painting of a cat and a wooden log breaking through the back of a painting.

Trompe l’oeil with a cat and a wooden log by Louis-Léopold Boilly

In certain genres or styles, some painters wish to express their talents through deception. Almost as if to say, “I’m so good I made you look twice.” Most often, this takes the form of painting something so realistic that the viewer thinks it is, in fact, real. It’s a strange yet understandable impulse to want to confuse your audience. But this is a far older impulse than people think. While illusions and other tricks in painting are often grouped under the French term trompe l’oeil (literally meaning deceives the eye), highly realistic painting like this predates the term by literal millennia, involving everything from hidden insects to fake curtains.

One of the oldest references to trompe l’oeil involves the ancient Greek painters Zeuxis and Parrhasius. The story goes that Zeuxis created a painting of some grapes so realistic that birds came down to snatch them up. To one-up him, Parrhasius invited Zeuxis into his studio and asked him to pull a curtain aside to reveal a painting. Zeuxis, however, was surprised to find himself simply clawing at a painting of some curtains.

The French painter Louis-Léopold Boilly was the first to coin the term trompe l’oeil in painting. Previously, Boilly had been known for painting portraits and genre scenes, but around the year 1800 switched to these illusionistic paintings. These ranged from tabletops cluttered with papers, coins, and playing cards to the backs of canvases torn open to reveal various objects. Boilly also found that while this showed off his own talent, he could be incredibly playful. One example is a painting on a circular piece of marble meant to resemble a small tabletop. Boilly added several nods to a man named Pourtalès, a member of a Swiss banking family who commissioned the painting. The work includes a variety of Swiss coins, the patron’s portrait in miniature, and some papers which include Boilly’s business card.

But while Boilly was the first to use the phrase trompe l’oeil in reference to painting, he was pulling from a long tradition of illusionistic painting that European artists had been building upon since the Renaissance. However, this was normally reserved for frescoes and other forms of decorative painting rather than anything on a canvas or panel; basically to make a room seem larger than it actually is. Using foreshortening, artists could make flat ceilings appear domed, like what Andrea Pozzo achieved at the Jesuit Church in Vienna. Andrea Mantegna pulled off a similar trick in his fifteenth-century frescoes at the Ducal Palace in Mantua, accompanied by painted-on architectural features like molding and scrollwork that are prominent on the ceiling.

15th century portrait of a woman in a large, white veil

Portrait of a Woman of the Hofer Family

But while most Renaissance-era trompe l’oeil consisted of these frescoes and murals, it also took another form: bugs. Known as the musca depicta (from the Latin for painted fly), fifteenth- and sixteenth-century painters often hid insects like flies in their paintings. Not only was this a display of skill, but many apocryphal stories tell that, while they were apprentices, some artists put insects in their masters’ paintings as a joke. The bugs seemed so lifelike that the master would try to shoo them away only to find that it’s not real. Writers like Filarete and Vasari have told these stories about artists like Giotto and Mantegna. But while these are likely just myths, the flies and other insects are real. Many portraits have these little hidden insects, like Sebastiano del Piombo’s portrait of Cardinal Bandinello Sauli, who has a fly resting on his knee. Then there is Portrait of a Woman of the Hofer Family by an unknown portraitist who included a fly in the woman’s veil. Later on, in the seventeenth century, we start to see these flies infiltrate still-life paintings by Clara Peeters and Balthasar van der Ast.

In the seventeenth century, we start seeing trompe l’oeil on canvas as more than a fly. During this time, Dutch artists in particular were known for creating paintings that gave the appearance of three-dimensional objects. Cornelis Norbertus Gijsbrechts, for example, would create works showing items hung up on a wall partially hidden by a blue curtain drawn back against a background with the grain of unvarnished wood. But probably his simplest yet most impressive work is The Reverse of a Framed PaintingThis same style of trompe l’oeil ended up persisting for several centuries. Later examples include the paintings of the nineteenth-century Irish-born American artist William Harnett. His contemporary, Adriaen van der Spelt, also made use of curtains in his work. While mainly specializing in floral still-life paintings, Van der Spelt might be best known for one painting that includes a blue curtain suspended by a rod obscuring about a third of the flowers we’re supposed to see. It was not unusual to have curtain rods installed above paintings in your home at that time. Normally, this was so its owner could create a more dramatic reveal, or possibly because it contained a rather erotic subject. Therefore, a curtain in front of a painting would not have been that unusual for a seventeenth-century viewer, which means it would have been an even greater surprise to see the curtain is itself part of the painting.

Bright Eyes

Bright Eyes by Anthony Wachulis

To this day, trompe l’oeil continues to serve as an impressive art form. Contemporary painters like Edgar MuellerJohn Pugh, and Anthony Wachulis continue this variety of painting. Some artists like Pugh execute it on a much larger scale than his predecessors. They also tend to be publicly viewable, making illusionistic art more accessible. Others, like Wachulis, follow in the footsteps of Gijsbrechts and Harnett, creating hyperrealistic works that make it seem like, at first glance, it’s not a painting in a frame but some small trinkets in a box hanging on the wall. So whenever you see a painting that you have to look twice at, remember that there are centuries of tradition, silliness, and just a hint of ego behind it all.