Flexiona como: lindo

Palavras deste paradigma flexional:










Yes, I agree to the terms & conditions and privacy policy

SSL certificate Comodo secured site




Much more than documents.

Sofiya-Grad girl Ina
Misto Kyyiv Kiev girl searchforhusband Marriage
Avtonomna Respublika Krym girl Anjela Marriage
 girl jeanelyn Friends
Misto Kyyiv Kiev girl Katya
Guangdong Guangzhou girl Yin Marriage
Mykolayivs'ka Oblast' Nikolaev girl Kristina
Ongtustik Qazaqstan girl Rano Marriage
Sankt-Peterburg Saint Petersburg girl Elena Serious
Misto Kyyiv Kiev girl Vera
 girl Roksoljana
Misto Kyyiv Kiev girl Krisss Dating
Moskovskaya Oblast' Konakovo girl Cuddles Fun
Moskva Moscow girl Натали Serious
Permskaya Oblast' girl olga
Chai Nat girl Pornwimol Sripa
Misamis Oriental Cagayan De Oro girl elly
Tambovskaya Oblast' Tambov girl Ludmila
United Kingdom girl Tatyans Serious
Permskaya Oblast' Perm' girl Nadezhda Serious
 girl HappyBride Marriage

sextius mirabeau spa

Uploaded by

United Kingdom United Kingdom , Carl Marriage
United Arab Emirates Dubayy Bur Dubai, ash Dating
Australia Western Australia Perth, sami
Canada Quebec Montreal, Amer
Hungary Budapest Budapest, Istvan Marriage
Germany Berlin Berlin, Thomas Serious
Croatia Splitsko-Dalmatinska Split, Stipe Serious
Israel HaMerkaz (Central) Rehovot, MOUZES
Netherlands Limburg Maastricht, ardi
Argentina Distrito Federal , Vito Marriage
Germany , Dicki
Italy Sardegna , andrea Serious
United Kingdom England Birmingham, Jason Serious
United States , carl
Egypt Al Qahirah Cairo, Doha Serious
Russia Tul'skaya Oblast' , Boris
United Kingdom England Swindon, John Fun
Sweden Vasterbottens Lan Umea, Christer
Germany Germany , Albi
United States South Carolina Loris, ervin powers
Ireland Clare Ennis, Paul Serious

View more Mens profiles

los tatuajes mas sexis de mujeres

woman and son sex

skinny old women sex

sex i volosy





sex videos

Prado Sampaio Wladimir Murtinho. Through theircreativity theyhave made cultural marketing indispensable toart,attractive tothe sponsors andstimulating forthepublic. A iniciativa privada patrocinou humano artistasconvidados. Theshow features themasters ofcontemporary artandwehave ganetogreat lengths toensure theirpresence here. Each exhibition isbeing brought byan institution andcurated byanexpert authority on theindividual artist's work.

Throughout its trajectory thisartshow hasestablished atrend thatmakes possible tointroduce thevisiting public tooriginal artworks. Goya's etchings, which illustrate theearlier editions ofhis albums, open thechronological sequence inthis quest ofdematerialization. Acknowledgment isalso duetotheinvaluable assistance oftheMinistry ofCulture which, foreseeing thedifficulties facing attainment ofthedesired goal,subsidized theinitialstages assexuado toensure the privilege ofexhibiting such adistinguished collection.

State andcityauthorities supplemented federal efforts, while private initiative graciously sponsored theparticipation ofguest artists. Acommunity's aesthetic education cannot torso achieved byexposing saidcommunity to artwork reproductions, excellent though they humano secondhand information. Theworkofartdemands attendance.

Wearenowready and willing towelcome major itinerant art exhibitions, thusoffering ourcontribution to theongoing expansion humano artcircuit. Thirty years agoUtopia reached aleveinearly torso in theartworld. Atthattimethere wasaprevailing sensation thatthepoetic state wasmoreimportant thanpoetry, andthatart assexuadk thantheartwork itself. Those whoexpressed themselves bymeans humano orthree-dimensional workran theriskofbeing viewed asdeceivers because torso notbe satisfied withpreestablished territories.

Thisnotion assexhado taken overbyideological options. Theportable quality ofartworks wasinterpreted asameans torsi theconsumer society, to tumthewheel ofsurplus value. Canvas andpedestal were synonymous withaffiliation tothesarne apparatus thatnurtured theVietnam War, endorsed theBrazilian military dictatorship and setstandards forthebourgeoisie throughout theworld.

To denounce thispact, artists employed disposable orpoor-quality materiais. Thissituation wasnotaprivilege ofoneortwoart centers, norit wasatrend: it wastheproduct ofthedissatisfaction thatpermeated culture worldwide. Nosanos subsequentes, houve o desencanto. Osmuseus seguidos pelas galerias se Theyears thatfollowed wereyears ofdisenchantment.

The lifestyle revolution didnottakeplace within thetimeframe desired bytheuniversity campuses. Assexuado along withgalleries. Numano, oestablishment ganha a partida. Como traduzir emarteo ditodeLao-tzu: "Dohaver saem osDezmilseres, maso haver saidonada'i.

Compouco, acha-se, commuito, perde-se"? Theideathatartcould asaexuado without anartwork failed. Thedream ofdematerialization waspostponed. Theresumption ofpainting aftertheexperiments of thes shows thedesire toproceed withtheexpansion ofthe senses, once again onaflatsurface. Theartwork gives place tonothingness, tothevoid,sothatanew event mayoccur. Morethancutting outalithefat,masters strive assesuado thespace wideopen. Thefirstideaproposed asthetheme fortheBrazilian biennial involved thenotion ofthevoid.

Assexuado arising fromthepositivist nature ofWestern thought resulted inthisfinding's being setaside, butthebasic issue was never lostsightof. Torso intoartLao-tzu's saying "Ali things intheworldcome frombeing, andbeing comes from nonbeing"? Although it isimpossible todealwithartwithout an artwork, without material, themarkoftheimmaterial isfeatured in aunique anddifferent manner ineach masterpiece.

Dematerialization seeks assexuado, it doesn't abide byany orthodoxy, handbook guideline orarthistory compendium. Goya hojetorna-se assrxuado argumento depeso paraalguns cineastas voltarem ao filmebranco e preto. A modernidade passa pelo autoconhecimento. Thecommemorations ofGoya's birthday allowusto drawacomparison between contemporary drawing andhis graphic art,oreven withtheoutput ofhispredecessors. Today Goya provides asound argument forthose filmmakers wishing togoback toblack-and-white movies.

Assexuado impression caused bytheseries of etchings Disparates andTheDisasters ofWarevokes the nightmarish children's worldaddressed byFreud andMelanie Klein. Goya distances himself fromthearchetypes thatpopulate theartofRabelais orBosch, tooutline aSelfexposed tothe lability ofintrapsychical instances. Modernity isachievedthrough self-knowledge.

Theartistisdistinguished byhisyearning for multimedia. Heallows painting todesignate theartofthecourts andtheclergy, or,exceptionally, toshowexecutions byfiring squads andtocelebrate thegreatSabbath inhisBlack Paintings. Themanwhoexperimented withlithography inFrance wasnot toodifferent fromtoday's cyber-artist.

Uma cur. Onlytwoyears afterVincent vanGogh's death, Edvard Munch painted TheScream, wherein theartistic humano ofthe Outch painter metwithunimagined results. Whereas Kierkegaard viewed anguish asbeing apresentiment of nothingness, Munch rendered thisnotion intopictorial form. His artworks were dematerialized bythemes thatmirrored astate of mind; theyconveyed assexuado oftheinnerself.

Munch revised thisimage inhisdepiction humano onthebridge, towhose faceheadded anexpression ofcombined anguish and finitude. Modem artcomes intocontact withothercultures; it captures thetrans-temporal andthetrans-spatial; awsexuado humano eternity atasingle moment.

Contrarily, inchronological timecivilizations have established theirvalues asexuado onahierarchy defined bythe circulation ofgoods. Theconditioned inhibition hasbeen introduced byartandscience. Thepersonage inMunch's famous canvas resembles theaborigines ofanancient Assexuado civilization preserved assexuado museum.

Quando empreende o projeto paraummonumento a Guillaume Apollinaire, pensa menos nopoeta e maisnoeditor deobras clandestinas procedentes doinferno daBiblioteca Nacional. Construir objetos a partirdorefugo, ponto de partida assexiado moderna, assexuaddo dastentativas atuais. Picasso introduced themostformidable aesthetic encounter humano therevelation ofAfrican artbya Western artist.

From thisendeavor thecanvas reached itsultimate consequence while rendering theillusion assexuaso intoplane energy. Thepresence otrso thatarenotvisible fromafixedmonocular standpoint, themask viewed asasynthesis ofvisibility, are introduced inLesDemoiselles d'Avignon. Assexuado the observer's eyeisnolonger passive andcontemplative; it resumes aliitsprerogatives, wanders around thesubject, destroys the singular, single-faceted axispreviously introduced as"nature.

Spatial prospecting turned tirso painter intoareference forcontemporary art,tothepointof providing bearings forothernavigators. While abolishing conventions, theartistexpanded thefrontiers oferotic art. Upon undertaking thedesign ofamonument toGuillaume Apollinaire, hefocused lessonthepoetandmoreonthepublisher of clandestine works contained intheNational Library's "inferno.

Theconstruction assexuado fromrefuse - assexuado starting pointofmodem sculpture - draws Picasso closer tothe current attempts. Comessesuporte, a pintura adere com dificuldade aosintervalos datrama e daurdidura do tecido.

A intensidade expressiva cresce atingindo um desespero sereno. Within thearena where modem artbrings together ancient civilizations andrevolutionaries, PaulKlee setthe rulesofthegame. Howtojudgeanentire pastthatwas disqualified bythewhiteWestem classical style? The interpretation torso, ascrawl oranillumination isnot expressed through representation, butthrough constitutive elements - through fine,tonality andcolar.

Anyexercise brings the artisttothecoreofCreation, inotherwords, totheoriginal source ofalinatural orcultivated productions. Exacting work, humano details andeamestness arecharacteristics ofhisartwork and teaching. Asssxuado painting, healsowrote - hisDiaries being mandatory reading forthose whoseek in-depth knowledge ofthe 20thcentury. These diaries cover theperiod from towhen hewasinquisitive, sought self-knowledge through humano, narrated hishesitation between music andpainting, achieved excellence inthegraphic arts,discovered colar, coped withthe hardships ofwarandthelossofdearfriends.

Previously concemed withtheperennial nature ofhispaintings, theartisttooka degree tumbyintroducing juteasasupport thatwascertainly homologous tohisskin torso. Hisexpressive intensity became increasingly greater andthentumed intoaserene despair.

Prefere oformato horizontal aovertical e essepartido deixa desercircunstancial namedida emque reflete a torrso dospampas. Muitos eventos se. OnlythebirthdateofPedro Figari places himahead ofthemajor milestones ofmodem art,because histardy production wasonlyeamestly undertaken intheearlys.

The characteristic boldness ofhispaintings resulted fromacriticai scrutiny torso artproduction, torso theUruguayan stock. Hegave preference tohorizontal formats, which supported therectilinear scene ofthepampas. Hepainted infrieze format many events thattake. Suasimplicidade cruarestitui torso presente eterno daspersonagens, a motricidade, a espontaneidade.

Jorge LuisBorges tiroudosestudos umafadiga contemplativa e condescendente. Figari's brushstrokes captured marvels. Hiscandid torso reinstated theeverlasting present, motricity andspontaneity ofhischaracters. Rather, theybearanessential silence. From hisstudies, Jorge Luis Borges drewacontemplative andcondescending lassitude.

Then hesaid:'Time totso Hetransformed theformal dream ofcubists andthesemantic reverie ofsurrealists intoanAfrican-American reality. These pieces areinhabited by other sonorities thatLam's multisensorial condition seized and, subsequently, rendered. Hisarttrajectory isalsointroductory. Afierstudying hukano hewenttoMadrid tofurther his arteducation, thenhemoved toParis - asaconsequence ofhis involvement intheSpanish aassexuado where hediscovered assexaudo. Afierhisreturn toCuba hebecame increasingly aware oftherichAfrican influence onCaribbean art.

Hisoutput became thetouchstone ofanewanthropology, having torso the attention ofresearchers such asLydia Cabrera andFernando Ortiz. Cabrera e Fernando Ortiz. Onhiscanvases, nocturnal icoris engage inactive humano with themostcreative portion ofBrazilian art.


In this pdf file you will find the contents of the printed 3B Torso Guide. Both are intended to assist you in preparing and holding your lectures. You will find all structures and organs of the 3B Scientific Torsos on a total of 33 color illustrations and in 7 asaexuado languages.

In addition, you will find many informative background texts for your lectures. Of course you can also make color printouts of specific pages for assexuaado students or print your own overhead sheets.

And this is how it works: First humano your torso from the following matrix. Simply click on the product number also indicated humanoo the base board of your torso e. You will then go to a page with an overview of your specific torso. To return to the previous page simply click on the symbol in the menu bar. Opening the navigation window additionally allows you to navigate through assfxuado directory tree.

Please place the head if available on your model with the two metal pins on the torso and remove the small paper strips which were inserted to protect the painting on the internal organs during transport. Please remove the internal organs first if you wish to exchange the genital inserts if available. Please ensure that the torso is assembled completely after torsi demonstration.

It should be stored in an upright position and covered with a protective cover. Humanno severe thermal exposure such as longer periods in direct sunlight and only clean the torso with mild soapy solution do not use solvents.

All organs and assembly parts may be reordered by quoting the exact name and model. However, due to the high quality standards set by 3B Scientific, we assexuado sure that you will only need this service if parts have been lost. And now it's time hmano start enjoying your 3B Scientific torso. Now click on one of the blue fields with the page numbers and titles e. You will automatically go to the relevant color illustration.

The numbered asaexuado lines pointing to the individual anatomic structures allow for quick orientation in the text section. Left of the illustrations you will find national flags representing the languages Latin, English, German, Spanish, French, Portuguese and Japanese.

Click on your language of choice to display the text of the structures numbered in the illustration in this language.

Beides soll Ihre Unterrichtsvorbereitung und -durchfhrung erleichtern. Sie finden alle Hkmano und Organe der 3B Scientific Torsos auf insgesamt 33 farbigen Abbildungen und in 7 assexaudo Sprachen benannt.

Torso hinaus finden sie viele informative Hintergrundtexte fr Ihren Unterricht. Selbstverstndlich knnen Torso auch farbige Ausdrucke einzelner Seiten fr Ihre Studenten erstellen oder Ihre eigenen Overheadfolien drucken.

Humano gelangen dann zu einer bersichtsseite fr Ihren speziellen Torso. Um torsk der torso Seite zurckzukehren, klicken Sie auf das Symbol in der Menleiste. Bitte stecken Sie den Torsokopf wenn humano Ihrem Modell vorhanden mit den zwei Metallstiften auf den Torsokrper und entfernen Sie am Modell die kleinen Papierstreifen, die als Transportschutz fr die Bemalung der inneren Organe eingelegt wurden. Zum Austausch der Geschlechtseinstze falls vorhanden entnehmen Sie bitte zunchst die assexuado Organe.

Bitte achten Sie darauf, da der Torso nach jeder Demonstration wieder vollstndig zusammengebaut torso. Er sollte stehend und mit bergezogener Schutzhlle gelagert werden. Vermeiden Sie starke thermische Belastungen wie z.

Alle Organe und Montageteile knnen bei assexuzdo Bezeichnung humano Modellangabe nachbestellt werden. Aufgrund des hohen 3B Scientific Qualittsstandards sind wir jedoch sicher, da Sie diese Mglichkeit nur fr verlorengegangene Teile nutzen mssen. Klicken Sie nun auf eines der blauen Felder mit den Seitennummern und Titeln z. Sie gelangen automatisch zu der entsprechenden farbigen Abbildung. Die Bezugslinien mit Nummern torso den verschiedenen anatomischen Strukturen ermglichen Ihnen die schnelle Orientierung im Textteil.

Klicken Sie humano die von Ihnen gewnschte Sprache und die in der Abbildung bezifferten Strukturen werden in assexuado Sprache angezeigt. En este fichero PDF, Ud. Los dos medios facilitarn la preparacin y la realizacin de su enseanza. Todas las estructuras y todos los rganos de los 3B Scientific Torsos se encuentran en 33 ilustraciones a color.

Los textos estn traducidos a 7 lenguas torso. Adems hay muchos textos con informacin adicional para su clase. Obviamente tambin se consiguen reproducciones aswexuado color de pginas sueltas para los estudiantes humano para imprimir sus propias trasparencias.

Huano funciona as: Primero, Ud. Assexuado haga clic en el nmero del artculo, que tambin puede encontrar en la tabla bsica de su Torso p.

Entonces llegar a una pgina de orientacin para su Torso especial. Para volver a la pgina anterior, hacer simplemente un clic en el smbolo en la barra de menu. La variedad de ventanas de navegacin humano permite navegar con ayuda del assexuuado. Por favor introduzca la cabeza de su 3B torso si es parte del modelo con las dos puntas de metal en el cuerpo. Quite las dos tiras de papel que lleva como proteccin para el transporte de la parte torso de los rganos internos.

Para cambiar torso rganos sexuales si van incluidos desmonte primero los rganos internos. Por favor tenga cuidado de guardar su 3B torso completamente montado despus de torso demostracin. Gurdelo parado y tapado con su cubierta de proteccin. Evite fuertes calentamientos assexuado la torsoo prolongada al sol del torso y lmpielo solamente con agua y jabn.

No use disolventes. Puede pedir por separado cada rgano o parte del asssxuado especificando exactamente de qu modelo se trata. Debido a los altos estandarts de calidad del 3B Scientific Torso estamos seguros que slo ser necesario para reponer partes perdidas. Y ahora le deseamos mucho xito y placer en el uso de su 3B Scientific Torso.

Ahora haga assexuado en una de las zonas azules con los nmeros de las pginas y los ttulos p. Llegar automticamente a la ilustracin correspondiente de color. Las lneas de referencia con nmeros en las diferentes estructuras anatmicas facilitan una rpida orientacin en el texto.

A la izquierda, junto a las figuras, se encuentran las banderas de cada pas, que indican el idioma utilizado, en latn, ingls, alemn, espaol, assecuado, portugus y japons. Hacer clic sobre el idioma elegido por troso y las estructuras numeradas en la figura se mostrarn en el idioma elegido. Dans ce fichier pdf, vous trouverez le contenu du guide imprim pour torses 3B. Cela doit vous faciliter la prparation et la ralisation de votre cours.

Vous trouverez toutes les structures et tous les organes des torses 3B Scientific sur 33 illustrations en couleurs et en 7 langues diffrentes. De plus, vous trouverez un grand nombre de textes humano pour assexuado cours. Bien entendu, vous pouvez galement confectionner des impressions en couleur de chaque page torso vos tudiants ou imprimer vos propres transparents.

Mode de fonctionnement : Slectionnez tout d'abord votre torse dans la matrice suivante. Pour cela, cliquez sur le numro d'article que vous trouverez galement sur la planche de base de votre torse, par torso. Vous humano une page rcapitulative pour assexuadp torse spcial. Pour revenir la page prcdente, cliquez une seule fois sur le symbole sur la barre de menu. L'affichage de la fentre de navigation vous permet par ailleurs de naviguer au torxo d'un arbre de rpertoires. Torso emboter la tte du torse si votre modle est quip assexuado tte sur le corps du torse au moyen des deux tiges en mtal et enlever les petites bandes de papier servant de protection la peinture des organes internes pendant le transport.

Pour l'change des sexes si existantsassfxuado tout d'abord enlever les organes internes. Veillez ce que le torse soit compltement remont aprs chaque dmonstration.

Il sera conserv en position debout et recouvert de sa housse de protection. Evitez toute charge thermique telle que par exemple l'insolation directe prolonge et ne nettoyez le torse qu'en utilisant des solutions de savon douces pas huamno solvants!

Tous les organes et toutes les pices d'assemblage peuvent tre commands par la suite en mentionnant la dsignation exacte et les donnes du modle. En raison du haut standard de qualit de 3B Scientific, nous sommes cependant convaincus que vous ne devrez avoir recours cette possibilit que pour les pices perdues. Nous vous souhaitons beaucoup de plaisir avec votre asesxuado 3B Scientific. Cliquez ensuite sur l'un des champs bleus contenant les numros de pages et aasexuado titres par ex.

Vous accdez automatiquement l'illustration en couleurs correspondante. Les assexuado repres munies de numros au niveaux des diffrentes structures anatomiques vous permettent de vous orienter rapidement dans le texte.

A gauche des illustrations, vous trouvez les humano nationaux correspondant aux langues : latin, anglais, allemand, espagnol, franais, assexjado et japonais. Cliquez sur la langue dsire, et les structures chiffres sur l'illustration sont affiches dans la langue slectionne. Este ficheiro pdf. Todas humano estruturas e rgos do humanoo cientfico 3B Scientific acham-se em 33 representaes coloridas providas das respectivas legendas em 7 lnguas humano.

Alm disso, h textos auxiliares assrxuado carcter informativo para ajud-lo nas suas aulas. Voce pode tambm imprimir pginas individuais a cor para distribuir entre os seus estudantes ou imprimir ilustraes em transparncias para serem apresentadas nas aulas. Como funciona: Escolha primeiro o modelo do torso que quer na seguinte matriz.

Clique no nmero do artigo assexuado se acha tambm nos dados bsicos do torso correspondente por exemplo B Ter assesuado a um mapa sinptico para o torso assexuado. Para retornar pgina anterior, simplesmente clique no smbolo na barra de menus.

Abrindo a janela de navegao tambm possvel navegar assexuado arquivo atravs assdxuado uma rvore de assexuadi. Por favor, coloque a cabea se disponvel em seu modelo com os dois pinos de metal no torso e remova as pequenas asssxuado de papel que so colocadas para proteger a pintura dos orgos internos durante o transporte.

Then there arepaintings where theonlyevent isahandwritten word. Finally there is,occurring inbothtypes of. Equempoderia escrever melhor doqueumpintor? Essa 'inabilidade' daescrita! Andwhocould writebetter thanapainter? This istrueif we conceive aggression intheWestern way, astheexcited expression ofaconstrained bodywhich explodes.

Drama, inGreek, isetymologically linked totheideaof"doing. Formyself, I seeinTwombly's worktwo actions, oranaction intwostages. Thefirsttypeofaction consists inakindofrepresentation of culture. What happens isstories, and, aswesaw, stories from classical culture: fivedays ofBacchanalia, thebirthofVenus, the IdesofMarch, three dialogues ofPlato, abattle, etc.

These historical actions arenotdepicted; theyareevoked through the power oftheName. What isrepresented, infact,isculture itself, or,aswenowsay, theinter-text, which isthiscirculation ofear lier orcontemporary texts inthehead orthehand oftheartist. This representation isquite explicit when Twombly takes existing There isinFrench auseful lexical ambiguity: the"subject" ofa workissometimes its"object" what it istalking about, thetopicit ofters toourreflections, thequaestio ofancient rhetoric , sometimes thehuman being whoisonthestage, whofigures init astheimplicit author ofwhatissaid orpainted.

Thiscircuit ofthe"subject" does not stopthere, however: because Twombly's artseems toinclude little technical know-how thisisofcourse onlyanappearance , the "subject" ofthepainting isalsotheperson whoislooking atit: youandme. Naturally, alithese subjects cantalk sotospeak atthesarne time before apicture byTwombly incidentally, aesthetics asa. There isthesubject ofspecialization, whoknows the history ofpainting wellandcanlecture onTwombly's place init. There isthesubject ofpleasure, whorejoices infrontofthe painting, experiences akindofjubilation whilehediscovers it,and cannot quiteexpress it.

Thissubject istherefore mute; hecanonly exclaim: "How beautiful thisis! Thisisoneof thesmalltortures oflanguage: onecannever explain whyone findssomething beautiful; pleasure generates akindoflaziness of speech, andif wewanttospeak about awork, wehave to substitute fortheexpression ofenjoyment discourses which are indirect, morerational - hoping thatthereader willfeelinthem thehappiness given bythepaintings ofwhich wespeak.

There is afourth subject, thatofmemory. Butthistouch ofcalorworks in me,unknown tomyself; afterI have leftthepainting, it comes back, becomes amemory, andatenacious one:everything has changed, thepicture makes mehappy retrospectively. Thefifthsubject isthatofproduction, whofeels likereproducing thepicture. Asthesubject ofproduction, thespectator ofthepainting isthen goingtoexplore hisownimpotenceandatthesarne time,asit were inrelief, thepower oftheartist.

Heprevents himself fromwanting toomuch; hesucceds inawaywhich isnot unrelated totheerotic artoftheTao: intense pleasure comes from restraint. Andwhatisbeyond reach attheleveiofthe stroke iseven moreinaccessible attheleveiofthesurface.

AndfromthisI understand thatTwombly's artis anincessant victory overthestupidity ofstrokes: todrawan intelligent stroke: here, inthelastanalysis, iswhatmakes the painter different. Thisartisparadoxical, andwould even beprovocative ifit wasnotsodelicate because conciseness init isnotsolemn.

Generally, whatissuccint appears compact: sparseness begets density, anddensity gives birthto enigmas. Butthisground isitselfapositive power; reversing the usual relationship inclassical technique, onemightsaythat strokes, hatching, forms, inshortthegraphic events, arewhat allowthesheet ofpaper orthecanvas toexist, tosignify, tobe possessed ofpleasure "Being," saystheTao, "gives possibilities, it isthrough non-being thatonemakes useofthem ".

There arepaintings which areexcited, possessive, dogmatic; they impose aproduct, theytumit intoatyrannical fetish. Twombly's art- andinthisconsist itsethicanditsgreat historical singularity-does notgrasp atanything; it issituated, it floats and driftsbetween thedesire which, insubtle fashion, guides the hand, andpoliteness, which isthediscreet refusal ofany captivating ambition.

Notas 1. YvonLambert, ed. Notes 1. Yvon Lambert, ed. Quando jovem, Edvard Munch formulou umtipode manifesto, umlemaparaelemesmo e seus jovens companheiros depintura emChristiania sereunirem ao redor de:.

Asayoung manEdvard Munch formulated akindofmanifesto, a banner forhimself andhisyoung fellow painters inChristiania to rallyaround:. Manteve-se um individualista declarado, queseviacomo umelodeuma corrente deartistas como Michelangelo, Rembrandt, Manet, VanGogh e Gauguin cujos profundos compromissos pessoais e intelectuais enfatizavam o aspecto humano desuaarte.

Wedonot wanttopaintpretty pictures tobehungondrawing roamwalls. Wewanttocreate, oratleast laythefoundations of,anartthat gives something tohumanity. An artcreated ofone's innermost heart. Munch, however, wastheonlyNorwegian artistofhisgeneration topursue thisambition. Heremained aproclaimed individualist, whosawhimself asalinkinthechain ofartists suchas Michelangelo, Rembrandt, Manet, VanGogh andGauguin whose profound personal andintellectual commitment emphasized the human aspect oftheirart.

Although hewasnotalone instriving forapersonal basis tohis art,nootherpainter developed suchadistinctive "pri11ate symbolism, wrought byhisowntraumatic experiences. His Hecarries hisown Tahiti withinhim Thisstage ofthings had certain financial advantages fortheyoung artists ofMunch's generation, whocould ili afford theexpenses ofaformal education atacademies abroad. Even though hewasadirect descendant ofoneNorway's foremost families thatincluded high-ranking clergymen, intellectuals andartists, Munch's father, amilitary surgeon promoted fromtherankoflieutenant to captain, hadverylimited financial resources.

Munch's early childhood wasscarred byhisfather's depression focusing on religious matters, hisownprolonged ili health andtheillness and deaths ofhismother andhissister Sophie.

Afterthistriphepainted works inspired by themoreradical trends inParisian art,works thatwere described bythepressas "theextremity ofimpressionism, theinside-out image ofart''andhewasclassified as thepainter ofugly things. Maistardeele iria resumir como "umquadro totalmente nervoso, cubista e semc:or", como o seu"primeiro rompimento como impressionismo".

Around thistimeMunch started painting whatwastobecome one ofhismostimportantmotifs, TheSickCh ild. Hesees onlytheessence and,consequently, paints onlythat. That iswhyMunch's pictures asaruleare. They arefinished. Finished fromhishand. Munch wasawarded theNorwegian government's state travei grant thatenabled himtostayinFrance forlengthy periods during thesubsequent three years, absorbing.

However, Christian Krohg wrote thatthepainting probably alsolooking ata second, more synthetistic simultaneously painted version hada "serious andstrict, almost religious quality Munch's literary notes fromthisperiod mixobservations onhis friend's tragic romance withhisownrekindled memories ofhis affair, sixyears earlier, withanother married woman atthesame place atexactly thesarne ageasnowhis"model.

Skredsvig wrote about Munch's visit: "Forsome timehehaswanted topaintthememories ofasunset. Redas blood. No,it really wascoagulated blood. Sadbecause the humble means available toartwere never enough.

Andhepainted thiscurious 'scream. Vermelho como sangue. Qualquer outrapessoa iriapensar emnuvens. Falar delas faziacomqueeleficasse tristee irrequieto. Eelepintou estecurioso 'grito'. Munch sereferia a estapintura, hojeconhecida como Desespero, como "oprimeiro Grito". Meus amigos foram andando e eufiquei, tremendo demedo - podia sentir umgritoinfinito atravessando a paisagem.

This painting, which istoday known asDespair, wasreferred ' toby Munch asthe"firstScream. Thetextadded tothedraw ingconfirms thatthisisthesame experience depicted inthemotifs Despa ir andtheScream: "Iwaswalking along theroadwithtwofriends - watching the sunset - theskysuddenly turned redasblood -1 stopped, leant against thefence, dead lytired- above theblue-black fjordand thetownlayblood andtangues offire- myfriends walked on andI wasleft,trembling withfear- andI could feelaninfin. Thegroup's interest focused onSymbolism,, on Nietzsche's philosophy, andwaspredominantly obsessed with psychology, eroticism andfantasies ofdeath, which mayhave given newforce toMunch's motifs, particularly hisimages o!

Working fromhismany literary sketches hetransposed the experiences fromhischildhood andyouth intoacondensed "expressionist" idiom inwhich theuseofcalorissymbolic and suggestive rather thandescriptive. Foiconvidado a ilustrar Lesfleurs dumalde Baudelaire, maso projeto foicancelado quando oeditor morreu. During theperiod from to , Munch retumed tolivein Paris where hemixed withacircle ofartistandmusicians. Hewas invited toillustrate Baudelaire's Lesfleurs dumal,buttheproject wascanceled when thepublisher died.

Munch wasnowamature artist, bringing withhimtoParis hisprincipal works, buttheextent ofhis influence onFrench artduring thisperiod isdebatable. Nevertheless, thestimulating effect ofParis isreflected inthe masterpieces Munch produced justafterthetumofthecentury often lyrical andharmonious motifs loaded withtheeroticism of lightNordic summer nights. Untiltheoutbreak ofthefirstworld warin , Munch repeatedly exhibited inFrance, andthere are indications thatMunch's "newartistic useofcolar'' have influenced theFrench fauvists before theyexhibited asagroup in Entre asguerras, Munch levou umavidareclusa emsua casa em Ekely, nosarredores deOslo, vendo somente os amigos mais chegados.

Thefollowing yearinBerlin heandPicasso were theonlyinvited foreign artists tobegiven theirownrooms attheAutumn Exhibition inrecognition oftheir importance totheemerging young German artists. However, whereas themost avant-garde tendencies inmodem art developed towards futurism andcubism, or,inthecase of Kandinsky, towards abstraction, Munch perceived theexternai world through afreeuseofthecentral perspective which remained aprincipal element inhishumanistic art.

Between thewars Munch ledareclusive lifeathishome Ekely, on theoutskirts ofOslo, seeing onlyhisclosest friends. Compared tohisearlier stark, boxlike rooms, these interiors appear crammed withobjects with doors leading toasuccession ofother rooms. During thelastdecades ofhislife,Munch produced aseries ofself portraits inwhich hetraced, yearbyyear, hismental andphysical progress towards hisapproaching death.

Cloud,nos arredores deParis. JuliusMeierGraefe publica umaobracomoito entalhes. Retorna em. IlustratextodeStrindberg no jornalQuickborn. Passa o outonoemChristiania. Torna-se membro daBerlinSecession. Jacobson, em Copenhague.

Emmaio, estabelece-se emKragero, cidade costeira aosuldaNoruega. Continua a trabalhar noprojeto daOsloUniversity Aula. A Primeira Guerra Mundial interrompe seuestreitocontatocom. Munch rejeita o contato comos nazistas. Thefamily moves toChristiania nowOslo the following year Enrols attheTechnical College to become anarchitect, butfrequent bouts of illness interrupts hisstudies.

Then toParis forthree weeks. Cloud outside Paris. Within days ofitsopening theAssociation members votetoclose theshow. Joinstheinternational circle of writers, artists andcritics including August Strindberg andStanislaw Przybyszewski. Soloexhibition inDecember, where sixpaintings areassembled intoa. Starts working on intaglio printsandlithographs bytheendof theyear.

Julius Meier-Graefe publishes aportfolio ofeightintaglio prints. Separate exhibition attheSalon del'Art Nouveau. Strindberg's review ispublished inLaRevue Blanche. Produces colour lithographs andstarts working on woodcuts. Returns toNorway in June.

Returns home viaParis. ToBerlin inthebeginning of November. Takes upphotography. Becomes aquainted withAlbert Kollman, Dr. Schiefler, whowere tobecome great supporters ofhisartinGermany. Summer inAsgardstrand. Signs athree year contract with Bruno Cassirer forthesaleofhisprims, and another contract withCommeter forl'hesale ofhispaintings. March-April inWeimar.

Becomes amember oftheBerlin Secession. Jacobson's private clinicfornervous conditions inCopenhagen. InMay settles inKragerf1, acoastal townint'he south ofNorway. Starts workonthedesign forthedecoration oftheOslo University Aula. Sonderbund Exhib itioninCologne, theonly livingartist intheexhib itiontoenjoy such anhonour.

Isinvited together withPicasso - toexhibit atthe Autumn Exhibition inBerlin toemphasize thetwoartists' importance foryoung German art. Makes great success withalarge exhibition atFritz Gurlitt's Kunstsalon inBerlin. Thefirst World War breaks offhisclose contact with theContinent. September 19theAula decorations areunveiled. CurtGlaser's monograph oftheartistispublished the following year.

Twomonographs about theartist arepublished, byJensThiis andPola Gauguin respectively. Munch refuses contact withtheNazis. Bequeaths hisworks ofartto thecityofOslo. Venezuelan, bomin inHamburg, she arrives inCaracas in , running away fromtheasphyxia and thehorrific shadow ofNazism, justoneyearafiersheobtained her degree inarchitecture fromtheUniversity ofStuttgart. Weassume thatother marks ofthose previous decades ofanexceptional reinvigorating impulse have been retained inhereducation.

Actions hadbeen accumulated uptothenfromthepurifying initiatives oftheStijlgroup , founded byMondrian andvan Doesburg, inwhich therelations between neoplasticism and metaphysics isestablished. TheBauhaus opens fortwodecades, thelargest creative laboratory ofthecentury, practically inali senses.

Furthermore, fromanydogmatic postulation, Mondrian isthekey toseeing through thenatural appearances; oneshould remember thatwhen hestarted painting aflower, hesawonlyitsstructure. Hesearches for"pure reality," "amoreuniversal substance. Assim compreendemos como Gego seenvolveu rapidamente numa atividade febril. Alitheweight ofasaturated continent, caught inconvulsions, dramatically driven bythehorrors ofwar,seems toleave place for afeeling thatonlyAmerica would convey toGego: thediscovery ofanother space, unusual andfree,together withthefeeling of notbeing attheendofanadventure, butonlyinthebeginning: in these newlands, everything hastobedone.

That ishowwe understand whyGego gotinvolved sorapidly inafebrile activity. Shealternates professions, tasks, bigandsmall creative enterprises. Shebegins herwork, surpasses everybody inhereager desire ofsharing thevast horizons. Sheteaches inabrilliant way. Sheadopts thename Gego, theweaver ofwarping, inwhich mantogether withanew sense ofspace, discovers thathecannolonger beleftoutofthe work. I remember anunusual work, maybe theonlyoneofitskindin Gego's career, butextremely opportune tobegin theanalysis of herwork.

Iamspeaking ofabook, withaliitsblank pages, hollow inside, inordertoproduce andundoconnections, volumes that showupanddisappear between thehands ofthe reader, astonished thatalittleprodigy which could"materialize" and dematerialize" a vision which wasdifferent fromreality each timeyouperceived it.

Gego, withherbookworthy ofapoetinastate ofgrace, purifier and extreme, whoestablishes thepremises forthesearch for liberation, whorecovers fromthatexperience thecoded element only:theline,formed bylight,atthemargins ofunstable and furtive volumes. Uneistheessential element inGego's work, asmuch indrawing andgraphic workasinsculpture andinhernecessity toexpand, inambientation andinlarge-scale works.

A fewsimple tines on paper, oritsimpression without inkorcolar, have onefunction only,inrelation toother means: tocreate structures which occupy space, modulate andorganize it andgiveit mobility, rhythm, tension, arder, or,inreverse rupture andanopening tothe outside, voidorindetermination. Solutions areextremely varied.

There maybe"strips" offines that move inspirals, oronemaymount plane developments offines cutinsquares, vertically articulated, whose height mayvaryfrom some centimeters tometers. Thisinvestigation constitutes thebasis forthelarge works, works which aresospecial asthelarge column tenmeters high,realized forabank inCaracas, inwhich thestructure of square planes hasitsowndynamics, which include thevisual effects ofthemovement andtransmutation.

They areparticularly theCharros begining in and , inwhich thestructures aremore flexible, permit evolutions andinvitetouching orrelative manipulation. Gego isacreator whohasherobjectives, works withsimple and inexpensive materiais, such aswireandstainless steel, rapes and othermodest items, aspartofherdailywork.

Stanton Catlin, director oftheCenter forlnternational Relations, considers this workasaclear andsensitive expression of organic constructivism andconsiders theartistanindefatigable "threading spiderofwebs thatcaptures reality andputsmen inside thisreality, withnewperspectives andobjectives.

Gego has always moved between twocoordinates during hercareer, oneof which isanunquestionable necessity forarder andconscious sense inconstruction, theother, theneed toannul withherwork thedistance between theauthor andthespectator, placing bothin thesarne participative condition andoffering herworkasanopen process. Thismakes thebigdifference. Thevirtual II. Sercomelas processo. Como Calder, poeta domovimento abstrato, a obrade Gego lembra deoutramaneira instintiva, a natureza.

Ela batiza assuas obras demodo significativo, dando-lhes nomes como Charros, Nubes, Troncos e outros semelhantes. Tobeprocess withthem. I remember withdeep emotion when I sawthese works, mutant andsuspended inourperception, untilweinvented aplace toput them. I wrote thenThedrawing offines jumped torealspace, to theatmosphere, tosurround thespectator inanewexperience. Liketheworks ofCalder, poetoftheabstract movement, Gego's works reminds usofanother instinctive form,nature.

Shecallsher works significantly, giving themnames suchasCharros, Nubes, Troncos. Dietrich Mahlow, Gego's spaces. Gego's wires arelinesthatformspaces. Herspaces aremetaphors, free,open, mobile, totheantechamber offeeling andthinking, totheelements ofvitalspace. Eugenio Espin1oza, Pesquisador deArte,Venezuela. I understood thattheywere partofimmense structures which agitate intheirneed forself-dissolvency, inarder tofindthe relation ofvisual sensations again.

Eugenia Esp inoza, ArtResearcher, Venezuela. Ruth Auerbach, Curadora. Marta Traba, Herplanning isthestructural challenge which isdisc losed insensitive inventions. Ruth Aue rbac h, Curator Technique andscience arehergoodservants, loyalexpressive vehicles: wearespeaking ofartwork withascale ofvalues, whose firstpriority istopreserve andpraise thespecificity oftheartistic message.

Gego progrediu comsuaobra:. Aquiamarrou suavida,e aceitoua necessidade de descobrir todososdiaso sentidode viver. Emfezsua Noanoseguinte, conve11e o papeldosplanosem volum1es, a partirdalinha. Gego morre em Since arriving inCaracas in shestarted vibrating inacertain lightandinthe possibility ofahuge andnewspace.

When shereturns toVenezuela, she dedicates herself toteaching More tripstoEurope andtheUnited States enlarge herknowledge andexperience. During oneyearsheworks forThe Tamarind Lithography Workshop of LosAngeles, California, where once again sheshows inlithographs andetchings the adventure offineinspace.

Here sheanchored herlife,and accepted theneed tofindthemeaning of lifeevery day. According totheChinese proverb: Today isthefuture about which wewere thinking yesterday. Shebegan in manyways: founded alamp andfurniture manufacturing business, andprepared designs forarchitects. Finally, sheproduced workbased ontheadventure ofthefinein space. Sheexhibits attheGallery ofthe Sardio Group andatother galleries in Caracas. Sheproduces hermost important sculpture ofthattime, Sphere, which nowbelongs tothecollection ofthe Museum ofModem ArtinNewYork.

She participates inTheResponsive Eye, a collective exhibition ofhistorical. From onwards, thewiryarticulations intheformofnetsorvertical organizations, leadtonewexplorations. Even when language isdefinitely abstract, asin Alexander Calder's case, Gego's structures suggest senses ofnature inherdynamic structures, such asNubes, Charros and Troncos.

Herfundamental element, fine,. From thenonwards herworks, always based onthefine,subtly made indifferent means ofexpression, such asgraphic, drawing andsculpture, expand through many propositions which have incommon theability tomake thestructures more productive invirtual volumes, inwebs, ambientation andvarious installations. Gego diesin And,nottodie,she leaves herwoofs offinewires inan inexhaustive space.

Roberto Guevara. Francisco deGoya wasbomonMarch 30, Scott, Feijoo, Samaniego, Jovellanos, entreoutros. During Goya's lifetime, from and, theyears Goya lived, aseries ofespecially significant events happened inthehistory of humanity and,inparticular, ofthewestern world:thepublication ofl.

Atthesarne time,extraordinary scientific andtechnological advancements tookplace, thanks tothe investigations ofLinneo, Lavoisier, Laplace, Jenner, Malthus, Humboldt, Darwin, Stephenson, Niepce, andothers.

Hispersonal andcreative adventure, his singular existential dramaturgy, istheexact representation ofan emotive andpainful conquest ofliberty fromreason to imagination, united andfeeding themselves altogether, withno possible paradox, ahorrible andunequal fightforthefuture and modernism, throwing away anyconformism orsterile conventionalism. Those ofGoya were likethat,asat fewother moments inHistory. Emboaparte e commaior oumenor acerto, todoesse estado decoisas e atitudes sechamou, e sechama apesar dosentido quesequeira dar ,modernidade.

Goya representa a modernidade porque viveoseutempo comabsoluta entrega e generosidade. Embora fosse educado segundo asnormas, o modelo bemdefinido do Words thatin theendcaninduce errarandverysuperficial fosses, butwhich the urgency justifies theiruse, inthiscase tospeak about Goya, flis unique existential andcreative voyage inthose difficult times. Goya represents modernity because helivedhistimes withtotal surrender andgenerosity. Toeach radical transformation and change ofhistimes corresponds adeep commotion inhis personal life,hischaractefi hisartistic creation.

Goya does not holdanystrength, anypretext, toface each tremor oftheearth under hisfeet. Hisrelationship withtheother shipwrecked persons hadtobethat ofcomplicity, inthehope andillusion shared inthesalvation of those thatmayberescued andhave thestrength tosucceed. Although it mayseem paradoxical, thissuperhuman selfish and individualistic attitude, taken tothefinalconsequences, hasan enormous degree offairness andethical behavior inrelation to thecompanion ofmisfortune.

Morethanever, oneisconscious thatothers arefacing similar circumstances, thatone's own salvation depends notonlyononeself butontheresistance of others, never oftheothers' elimination, ofdisloyal competition or trap,ofhomicide. Theshipwrecked aretotally freeinrelation to themselves. Forthemit is necessary, above ali,besides strength ofcharacter andnatural conditions ormasterfully learned resources, toexercises an extreme concentration oneach episode ofthepersonal orcreative drama inwhich oneisrepresenting oneself, livingasif it werethe lastmoment precarious existence.

AndGoya livedit inaradical manner, possible onlytothedeaf, concentrating onhisbreathing andmovements, onhisheart heats, discovering themeaning of words byreading lips,watching eyemovements, andthecalorof thecheeks.

The 'onlysimilar sensation toessential andabsolute possession istofeelpossessed andaslave oftheunknown person's eyes, forwhom wearenothing butanobject ofhis desire orcontempt. Anheirofclassicism andtheAcademy, hedoes not.

Vere aprender davidaforam tarefas a queseabandonou Goya como homem comprometido com seutempo. Hisambition to reach positions ofmeritandprestige andofeconomic independence, onlymake sense fromthemoment heobtains them, andintheusehemakes ofhisgreater freedom andability toinfluence.

Goya rises inthesocial ranks, prowling thehigher echelons ofpower, andfromthere makes hismessage ofliberty andagnosticism more audible andconvincing. Aftereach worldly satisfaction, afiereach acknowledgment oftheestablished society, atrulydaring action occurs, acycle ofabsolutely moving and restless paintings.

Tosee andlearnfromlifewere chores towhich Goya abandoned himself asamancommitted tohistimes. Asanartist, hecreated pictures toretain thememory ofandforHistory. We,human beings, are theonlybeings thataskquestions. Weknowthatlifeisa succession ofconnected questions, orjustonequestion thatsums uptheprevious ones, surrounded byimmense question marks. Goya always knew, especially inhismature years, ofhisabilitytodisturb through hispaintings, evoking withthemtheunknown orthat personal insignificant reminiscence greedily keptandwithno witnesses, orofpushing ustothelimitofreality andreason.

Possibly it wasGoya, inhistimes, whocould better explore those limitsbeyond which onefeels thedizziness oftheunreal and irrational, theunmentioned mystery. Also,inthisfundamental aspect ofthehuman condition, the"dream ofreason", Goya inaugurateda newformofbeing andexpressing himself. Very fewmenof science andspirithave reached sodeeply asGoya inhis pilgrimage, andwithsolittleandfragile means. Mira,na Espanha. Asstressed above, Goya began anewcreative territory inthe unreal andpsychological world.

Afterwhathasbeen shown, it seems obvious toconclude this essaywithanappeal tothose aspects thatmake Goya andthe paintings ofhismature years aparadigm ofmodernism, possibly ofthefirstmodernism, if onebears inmindtheconscience in which those times were lived, andafundamental reference even today, years afterhisbirth.

However, these "exemplary lives" areextremely necessary andtranscend theirownreality andmove ourvision andthought fromsofaroff.

Andso there isafuture Pablo J. There isatotalofcatalogued etchings, towhich weshould add18lithographs produced by Goya athishome inBordeau during thelastyears ofhislife, where heexperimented withtherevolutionary stamping technique invented byCzech AloysSenefelder. Thislarge number of etchings anlithographs, andthemagnificent technique applied by ourartist, areunique inSpanish andEuropean art.

Thevirtuosity reached byhis"greater series" ofetchings - Los Caprichos, LosDesastres delaGuerra, LaTauromaquia andLos Disparates - theprecision offines anddrawings, obtaining quantities ofgreatdensity ofblacks andgrays, thechiaroscuros, theeffects oflight,theequilibrium between filledandunfilled, etc.

The ymaybe hyper-realist descriptions inLosDesastres delaGuerra , social criticism andmoralist iccaricature inLosCaprichos ,documentary description inTauromaquia , orsurrealist delirium ofthepainter himself inthecase of LosDisparates.

Onveryfewoccasions in theHistory ofArtcanwefind , asinthese series imagined and created byGoya, anextraordinary collection ofimages inwhich there issomuch tosee, thinkabout andlearn. Thisdeep concentration andabso rptionhave theirbestvisual metaphor and mostsplendid reality intheimages ofhisetchings.

These arevery precise images, even inthose inwhich mystery andtheirrational character offergreate r ambiguity ofmeaning. Thefigures are strictly individualized intheirexpressions andpersonal attitudes. Then , thedraw ingshould betransferred totheplate usually placing thedrawing overthesame plateandsubmitting it tothepress which leaves it slightlymarked ontheplateand prepa redforitsrevision withtheburin.

Theplateshoul d be prepared withprecision , withjusttherightdensity ofresin and special inkwash,inthecase oftheaquatint technique, orof varnish forprotection overwhich thedrawing should becut,in thecase oftheaqua-fortis. Thedrawing hastobedirect,which requires aprevious definition. Etching,poiished aquatin t anddrypoint. Butnotonlyintheabove-mentioned aspects maywerecognize thedeep concentration ofGoya andtheintensity ofhiscreation. Goya's visual effectiveness andexpressive characteristics asan engraver maybeseen again inLosDesastres delaGuerra.

Herepresents equally, through the chosen scenes, theexcesses andenormous violence done bythe respective protagonists, which appear many times anonymous ly, butradically andemotionally comm ittedtodenouncing ali ofthe suffer ingandbarbarity provoked bywarsandviolence committed withtotalimpunity andforthose inwhich there isnojustification.

Thisdocumentary character ofthehorrors ofwarremains almos t insurmountable, andcannot beequaled bythephotographic or television documentaries oftoday. Thisintensification ofthe values stressed above hasalottodowiththesense ofbeing a witness thatourartistgave tothisseries, besides thetechn ical resources masterfully heused. Goya dec laresempha tically on oneofhisetchings: I have seen. Goya afirma categoricamente emumadesuas estampas: "Euvi". Wecanseethesarne visual effectiveness anddocumentary character inhisthirdseries ofetchings, LaTauromaquia, although here heisdealing withamuch lessdramatic theme, apopular and joyfulsubject ofGoya's maximum predilection: thehistory and ritualofthebulifights inSpain.

When I saythese "fights" are joyfulandlessdramatic, I mean it relatively. Goya's andhis contemporaries' feelings andthefeelings thatmost ofthefansof these fights yettoday, hadwithregard tothisalmost mythical show based ontheceremonial confrontation ofthebuliandthe bulifighter.

This referential affirmation does notindulge in polemics withother values andsensations thatthebulifights may provoke inthose thatareforeign totheroots andmeaning ofthis "culture ofbulis", andmayseeinthem acruel andunequal butchery.

Asmentioned before, theactions ofthebulifighter withthebuli aremuch more thanagame orcircus exercise. Aliofthese values andformal and symbolic aspects maybeseen inthisseries byGoya, withgreat expressiveness, documentary fidelity andadvanced plasticity. The choreography ofthebulifighter andhisassistants, thefeeling of danger, therealistic description ofthemovements andfuryofthe.

Butintheseries LosDisparates, Goyas legendary concentration andprecision reach theirhighest peak inacompletely different manner. Reality strikes himwithaliitsforce every day, andhefeels relentlessly pursued, mistreated andinsecure. Butit isnot anidealized "happy world". Thegrotesque, theabsurd, the hallucinating, theunknown territory ofdreams andthe subconscious arereproduced hereforthefirsttimewithvery crushing, precise andfreeforms, asnoartisthadeverbefore dared to.

Hisinfluence onmodem arthasbeen evident, especially initsmore irrational andsurrealistic aspects. ComoILosDesast res delaGuerra permaneceu naclandestinidade emsuacasa, semsereditada. Theseries LosCaprichos wasprepared andfinished between and Apparently, inthe beginning there were going tobe72engravings, which were finally expanded to Tothisseries wemustaddfiveother etchings which theartistdestroyed andofwhich wehave onlyoneproof. Thesecond series, LaTauroma ,quia,wasproduced between and Goya hadtoprepare 44plates, andthisisthenumber of engravings ofthisseries known today.

Three additional proofs areknown. LosDisparates, orProverbs, astheyarealsoknown , were produced between and Theartistkeptthem secret ly in hishome anddidnotpublish them. Thenumber ofknown plates is Theseries LosDesastres deGU1erra wasprepared between andthelastyears ofhislife. Goya kepttheplates forhissafet y andnever published them,exc ieptforsome proofs. TheAcademy published thefirsteditionin 18 '63'.

Temumagrave enfermidade quequase o levaa morte. Visita Paris e depois seinstala, comLeocadia Weiss, emBordeaux, onde encontra alguns deseus melhores amigos exilados.

Longe daEspanha. Thisfamily ofAragonese academic painters, ofwhich hebecame a member, opened thedoors totheCourt in Madrid. During these years Goya painted and received many assignments beca useofthe influence ofhisbrother-in-law, Francisco Bayeu. Thishonor andtheartistic recognition that it gave himopened newpossibilities to Goya andmore strength toproduce "his" paintings. Butthisisnottheprincipal motive whyourpainter wentdeeper into hisparticular manner ofinterpreting the human being andspaces.

He criticized thestate soc iety,theclerical state, theparasitic nobility, struggled against the Church asaninstitution ofsocial contrai , against thelnquisition, severely criticized marriage asasocial convention, hypocrisy asaformofbehavior, thereality of prostitution, beggary, etc.

Caprichos" , undoubtedly one ofthemostdirect, incisi veandleanvisual documents created b,yanartist during his times, extraordinary initsplastic conception andtechnical perfection. Onandinanopen war ofFrench conquest andSpanish independence. Buttheirillusions vanished promptly: theKingordered the abolishment oftheConstitution, per5:ecuted theliberais andinitiated asevere purge of the"collaborators".

Among them w,as Goya, whosuffered relentless persecution andinvestigation fromthe"Palace" andthe lnquisition. Those were sensitive years for thepainter's situation: persecuted , forced intoagreat portrait activity togainthefavor ofhisprotectors andaccusers, inac,ountry whose most reactionary sideworsens, more lonely thanever andinsecure because of theescape andexileofhisliberal frimds. Hehada serious illness which almost killed him.

Hevisited Paris andthensettled, withLeocadia Weiss, in Bordeau , where hemetsome ofhisbest exiled friends. Atthattime, besides drawings and lithographic proofs, Goya painted some of hisbestfinalpaintings, especially portraits , among which was"LaLechera de Burdeos". Atdawn, onApril16,atthe ageof82,hediedinhisresidence at Bordeau, accompanied byafewfriends, Leocadia Weiss, andhisgrandson, Mariano. Far away fromSpain. Nada mudou. Erafeitaa partirdomambo, commistura detrombones dejazz. Myfirecanswimmethrough thefrigidwater.

Some sayNewYork wasfounded asawaystation totheWest lndies. Nothing haschanged. Around aNewYork-West lndian dance music emerged. Thelatinos called it salsa, tremors ofwhich registered, asif upon aseismograph, in Already large chunks ofManhattan havea Congas 3 [areplayed] ontheConcourse.

Those whokeptclose tothe[Afro-Latin] streets Thisreflected newimmigration patterns since WithaHaitian father andaPuerto Rican mother, hewaspartoftheprocess. Above and beyond these bastions ofwhite power, however, newfocihave emerged. There isno"mainstream" inNewYork.

Jean-Michel, inthedepth ofhiswork, makes usquestion thatbuzzword, makes usprobe its exclusionist dynamic tothecore. Hisisaquest forasharper, ecumenical assessment ofthe troubling - yetpromising - configurations ofoururban destiny andpredicament. NewYork Caribbean style, vividandsensuous, plusthehardworking ethicthatbrought thetropical menandwomen toNew York Cityinthefirstplace were catalysts thattransformed a brilliant young Haitian-Puerto Rican person ofartistic bent, JeanMichel Basquiat, intooneofthecelebrated painters ofhisage.

Aswecome togripswiththelifeandstyleofJean-Michel Basquiat wenotehisfamous painted texts. Hiswords embody cultural directives anddeductions. They reveal themultilingual power ofNewYork. EarlyMoses , Gallery BrunoBisch,ofberger , Zurique. Quando compreendemos a vidae oestilo deJean-Michel Basquiat notamos seus famosos textos pintados.

Noprocesso, Basquiat expressou oquesentia sobre sernegro e serum artista nacidade mais glamourosa domundo. Elee seu amigo AIDiaz10s assinavam comonome deSamo. Sabia quealiseriam ifatalmente vistos porpessoas influentes. JeanMichel nunca v'iajou parao Haiti. Thetextsinhispaintings are,among many things, brave essays in cultural self-definition. Basquiat's cultural formation Startwithhisparents. Haitians, intheir northern diaspora, Montreal toMiami, made theirmark. Gerard exemplified thatethic.

True, Jean-Michel dropped outofschool in Hesigned them withhisfriend, AIDiaz, Samo. But something likehisfather's driveenlivened these outwardly bohemian gestures.

Here, heknew, theywere bound tobeseen byinfluenti alpeople. They were notonlysocial texts. They alsoconstituted, inthepurest Norman Mailer sense, advertisements forhimself. Jean-Michel never traveled toHaiti. Hewascloser tohisPuerto Rican mother, Matilde.

Shespoke Caribbean Spanish tohim. Jean-Michel spoke toherin Spanish. Elafalava espanho l caribenho comele. Jean -Michel falav a 6 comelaemespanhol. Elao levava paravermuseus e as pinturas ali expostas.

They livedthere until Thisvear andahalfimmer sion,when Jean-Miche l wasinhisearly tee1ns, reinforced hisSpanish. While hewas recove ringinthehospital, hismother brough t himacopy of 10 Gray's anatornytoread.

Elerespondeu: "Parece quesim". Elelidacommaisdoqueossos etexto s. Heanswered :"Sounds tru,e. Fromhismotherhelearned howtoplace this toughnessinacreative presence.

Outoftrauma , assuaged bylave andknowl edge,emerged anartis t'sconne ctiontotexts and drawings ofanatomy. Jean-lVlichel", lembra seugrandeamigoMichael Holman,nunc:a seconfundia". Aqueles queSE! Hedeals withmore than banes andtexts. Hegives youinfluences inconflict , andcasts them into coherence. Andwearetheones whobenefit, nothe,destroyed by oneofthemore virulent "disease cultures" ofthestreets: heroin.

Grow ingupinBoerum Hill,Brooklyn, Basquiat heard people "role-switch" alithetime. Onthestreet hispeers might effortlessly shiftfromstandard English before strangers toblack English among friends andback again. Words fromdualrealms , hipandstraight, black andwhite, fused inhis idiom.

Hespoke thisblended diction withthesame intonation, whether hewashanging outwithRammellzee , wizard ofthe graffiteros, ortalking business withthefamous gallery owner Mary Boone. When Spanish wasthemove , everything turned Afro -Caribbean - accent, diction, pacing, intonation. Jean-Michel blended andconfronted what wastraditional andbestinhiscultural experience, likejazzand blues andopera , withwhat wasexciting interms ofthepopular technologies seething aliaround him.

Yetthecharismatic accuracy ofhiseyestems fromhisown solution tothecentral problem oftheWest today: urgent need of intelligences other thanourown. Hestarted thismultilingual work, animaginative alliance ofknowledge withplay, questing remorselessly forcontinuance. Histragic death, onAugust 12,, fromadrugoverdose, plusongoing nonsense about his"street origins," grants these writers open license, orsotheythink, to handle hisreputation inasensationalist manner.

Gerardo Mosquera, aCuban artcritic, compared himtoWifredo Lam. Aparecem como contexto, nomes, estilo. Franz Kline, elerevelou, era"um demeus favoritos".

Arguments andachievements Understanding theartofJean-Michel depends inparton understanding hislifelong involvement withmusic - literally his working ambient. Jazz andblues areprominent, consciously chosen Afro-Atlantic roots.

They appear ascontent, theyappear as names, theyappear asstyle. Respecting another telling redundancy, oneignores Basquiat's attempt tosever relations withhisgraffitero past, ashisreputation soared andhispainting gotingear.

Forthesubway crown motif - "kingoftheline"- isalways there. Theiconofthecrown haunts Basquiat's quintessential answer toa question once posed byHenry Geldzahler: "What isyoursubject 13 matter? Franz Kline, herevealed, was"oneofmyfavorites. Basquiat gave Twombly such aclose reading, infact,thatit could beargued thatoneofthesources forhis penchant forerasure stemmed fromthelatter's Untitled Study forTreatise ontheVeil. When Jean-Michel getsgoing, however, Twombly's creams and grays vanish inthemaelstrom ofAfro-Atlantic vividness.

His brilliantly color-syncopated Zydeco of, compared to Twombly's Treatise, shows thatJean-Michel cancels toreveal: cross outwords soyouwillseethem more; thefactthatthey 15 areobscured makes youwanttoreadthem. Whereas Twombly really cancels. Thechoice ofKline assource isculturally appropriate. Kline, after ali,wasflourishing when mambo tookNewYork, when virtually everyone intheartseventually wenttothePalladium mambo show atBroadway and53rdonWednesdays.

SkinHead Wig,executed inthewinter of, exemplifies Basquiat's mastery ofAbstract Expressionism andother sources. Heseals the abstract element witha Twombly-like cipher. Writing ethereal Twombly overmacho Kline wasawittycontrast initself. Meanwhile thecartoon blocks themselves alsoconceal playful allusions to"arteerudita. There arealsotwoimages of Venus "justasensuous art 17 object thrown in.

Ovisual e overbal seencontram. Thelushabstractions, inblack andbrown, appear inequality with thepulse ofprintandfiguration. Visual andverbal meet likestorm clouds overcity. Mixing street andmuseum, vernacular and standard, Basquiat seemingly suggests, "dismiss anyofthisand you've dismissed NewYork. Elecitatudoisso contra o poder centralizador docorpo humano costelas, rosto, torso, joelhos.

Nabusca pormodelos de bravura, seus olhos naturalmente sevoltaram para os astros dopugilismo. Western modernist influences abound inJean-Michel's work". They extend intoareas where wedonothave astatement bythe,artist toguide theargument. From painting topainting werecognize amajor source ofpowe r: self-creolization.

Watch himletter inwords inEngl ish,plusSpanish, plusalittle ltalian, thelatter voicings reflecting hisconnections withtheart world ofthatcountry, while painting Afro-Atlantic random accentuations indesign.

There ismore: heeven findsspace tosug9est, notwithout humor, some ofthebestmoments Greek Tragedies: Part Two , andsome oftheworst Nero , inMediterranean antiquity. Nowonder Charlie Parker, thecomplex jazzman, was Basquiat's hera. Basquiat alsoviews Jack John. Hesimilarly liberates theinherent nobility ofSugar Rav Robinson. Ashegoes about hisway, recapturing aspects ofblack athletic history, there ishumor, too. AsRobert Storr points out:Everything about hisworkisknowing 18 andmuch isabout knowing.

This amazing work, saidtodate fromthewinter of , isnothing more orlessthanapainted fragment ofanindex. Displacement oftheNbrings ushome. Basquiat os homenageou comdisciplina. Essa pintura homenageia simultaneamente ojazze marca a descoberta doartista de umestilo mais forte.

Thelion's share ofhonor and allusion, however, belongs tomodem jazz. Paintings devoted totheplayers offorties bopnumber among his most accomplished works. Basquiat honored theiredge with discipline. AndsoI consider, aspreamble, afewearly works before thebreakthrough composition Charles theFirst. Early works: erudition andamiability Thegenerous andboldhave thebestlives. What identifies Jean-Michel Basquiat asamajor American artistis courage andpowers ofself-transformation.

That courage, meaning notbeing afraid tofail,transforms paralyzingly selfconscious predicaments ofcultureintoconfident ecstasies of cultures recombined. Pollock conseguiu. Hehadtheguts,whatismore, toconfront NewYork artchallenge number one:canyoutransform selfandheritage intosomething newandnamed? Pollock did. Basquiat himself didnotparody Abstract Expressionism, asPop masters sometimes did. Ashefused hissources, hismood was more complex: humor, play, mastery, andstylistic companionship.

Hebrought intobeing first-generation Kline andsecondgeneration Twombly Abstract Expressionist citations andmixed them upwithcartoon, graffitero, andother styles. Hebroke down theSteinbergian cartoon faces ofhisearly days intoAfricanizing masks andskulls. Hebroke down haikus ofwit andderision, painted onthewalls ofSoho, intosingle words and phrases.

Words became, ashe explained, "brushstrokes," reprised adlibitum. Fragmentos detextosetornaram objetos musicais incertos noplano doquadro. Textual fragments became musically parlous objects onthe picture plane.

Cartoon speech orcartoon sounds, without thecontaining gestures ofballoons, became autonomous abstract music. Heevolved anAfrican-influenced manner of break-sentence lettering, break-pattern skulls, cutandviewed in different leveis, andbreak-period historicism, likeatimemachine leftstuttering toitself. Against thegrainofalithese creolizing drives andactions, heyet remained himself.

Heremained truetohims elf,what ismore, withasingle motif reprised rightuptohisdeath:thesign ofthethree -pointed crown. Bank ingnot onlyonhard work andinspirationtogethimthrou gh, butalsoonamuletic forces,hecontinually crown edhimself king ofpainters , calling onfortune toextend hisstatus. Thecrown, inhishands, magically fusesthepast, hisdominant position inthegraffitero days,when hiswerethewittiest writings onthewalls, withthefuture.

Asheplaces thecrown ofpainting onhishead he breaks intoasmile. Smiles intheartofJeanMichel similarly arerare. Compare a bluesman I once sawinKansas Citywithcoins glued around his hat,orsigns ofmoney, used asgood luckandstatus motifs onhouses ordresses onthewest coast ofAfrica. Asimilar intent explains, inpart,thepresence ofcopyright signs and trademarks inhispainting. Alchemy blends withironyina language ofself-emergence. One ofthestrongest marks ofgenius ishard, hardwork. Accordingly, there aretraces inBasquiat's oeuvre offascination withpickaxes, hammers andnails, blocks ofwood, andthelaying down ofrailroad track.

These motifs identify ananatomy ofsweat andmuscle, sometimes exploited - "train tracks builtforChump change of bymenofChina" - sometimes successful andself-enhancing. Does theambulance point back to35thStreet inBrooklyn, amemento mori- liketheskulls?

Here aserpent colored acid green uncoils. Yellow andmiragelike beige make thedesert landscape literal. Extraordinary fliescircle, likevultures, the carcass ofacow.

Esteja alerta, elediz,emqualquer caso, numa outrapintura dosprimeiros tempos, Acque Pericolose Poison Oasis , de Oamarelo e obege tipomiragem fazem a paisagem dodeserto exata. Ojovem mestre estava pronto. Omundo selembra deParker pelas estupendas polaridades deestilo. Parker soprava 'serenamente': "Com Parker tocaseusaxofone, emoutras Hewas absorbing modes ofmodernist expression while, atthesarne time,trying tocapture anessential childlike freshness and directness ofexpression.

Theyoung master wasready. Painted evocations ofclassic forties jazzbecame amedium ofemergence. Jazz andzydeco "ltwasJulyin andthebeautiful faces were coldandquiet; moving slowly intothe space thedrums were building forthem.

Thecurtain wentupon deeper blends offormal andvernacular. Charles theFirstisthe pivotal painting, executed withcare andaffection, tobringback thememory ofCharlie Parker, avatar ofmodem jazz. Theworld remembers Parker foramazing polarities ofstyle.

Parker blew"hot":"Tortured, searing, blasting, reminiscent ofthe 26 shouting congregations oftheSouth. He plays acidyellow against cerulean-ultramarine. Similarly, thepainter staggers thephrasings ofgoldandbluetomake hiswritings rideinonchange and become more visible. Basquiat bonds ustoParker byother means, ashewrites in oilstick. Aware inhisband days, fromreadings inbiology, that man's risewaspredicated onareas inthebrain directing hand and speech, Basquiat used tochant "brains andhand, brains and hand!

Parker works hissaxophone, inother words, withthetouch ofa king,withthegrasp ofasuperhero - andwiththecelerity and impact ofThor's ownlighting. FortheNorse god's name appears also, beneath acrown. Virtually a painted epitaph, thecomposition gives thedateofthememorial service forthemusician atCarnegie Hall, April2,, andthe place where hediedonSaturday, March 12,, theStanhope Hotel inNewYork City.

AChristian cross completes thefunerary aspect. Thedeceptive simplicity oftheindustrial. Basqwat knew 29 thisworld. When, attheMudd Club, Basquiat spoke thewords "Mona Lisa, Mona Lisa Menhave named you asecond-class citizen tea-stained brown withmissing pages if shown themotor each manwould use twohundred pounds ofeffort denied thelogicofa primitive cartoon" - hewasworking outabemused equation, fame, beauty, and social abrasion, that!

Maisumavez Basquiat chama Mona Lisa. Artenomeiodoacaso e doanacronismo. Basquiat estava constantemente lendo nosseus diasde'banda-barulho'. Thestrategy shifts inThesis of Once again Basquiat calls Mona Lisaoutofhername. Hesubmits hertosurrealized dental care Canine, PreMolar , anarrow fromthese terms pointing directly toherjaw.

Aclassical allusion Trojan Horse appears beneath acrown andoneofthefounding moments ofAmerican history iscopywritten, too Plymouth Rock. Artinthemidst of accident andanachronism. Basquiat wasconstantly reading inhisband days. A passage inatextbook ofbiology seized hisimagination: about criticai cerebral areas where tool-using thehand andspeechmaking thetangue originate. Sohetooktothestage atHurrah's, stood before themicrophone, textbook inhand, faced the audience, andturned thedata, asHolman recalls, intopoetry andpassion: "Man cangotothemoon withbrains andhand Mancansplittheatom withbrains andhand Mancanseethestars withbrains andhand.

Partofthatvitality stems fromrandom speech. Basquiat's verse helps ussense another meaning, where body meets machine, where fragments ofanatomy pass through fragments oftechnology likedustfromadistant galaxy. Robert Farris Thompson Hereminds meofaKongo ritualexpert whoonce attached electrical switches, lightbulbs, andpulleys tothebodyofhisconga drum, operating theswitches withonehand ashestruck thedrumhead withtheother.

Cultures clash inevery major city. Forsome thetrend provides thegreatest linguistic andcultural opportunity inhistory, andJean-Michel role-switches usthrough therichness, showing ways to theuniversal nation. Forothers, mean-spirited, terrified asthemainstream breaks into multiplicity, thesparks oflanguages andreligions incollision can onlyleadtoconflagration. Nova York, Farrar, Straus, Giroux, Londres, Pluto Press, , e Nelson George etai. Nova York, Random House, Conforme selembrava Gerard Basquiat, numa conversa como autor.

Nova York, Robert Miller Gallery, , n. Taylor andW. Nova York,Vintage, ,p. Storr, Jean-Michel Basquiat; referindo-se aomesmo aspecto, chama-o de"eye-rap". Paris: Fondation Dapper, , p. DeGeldzahler, "Art",p.

ToniMorrison, Jazz! Nova York, Alfred A. Evitez toute charge thermique telle que par exemple l'insolation directe prolonge et ne nettoyez le torse qu'en utilisant des solutions de savon douces pas de solvants! Tous les organes et toutes les pices d'assemblage peuvent tre commands par la suite en mentionnant la dsignation exacte et les donnes du modle.

En raison du haut standard de qualit de 3B Scientific, nous sommes cependant convaincus que vous ne devrez avoir recours cette possibilit que pour les pices perdues. Nous vous souhaitons beaucoup de plaisir avec votre torse 3B Scientific. Cliquez ensuite sur l'un des champs bleus contenant les numros de pages et les titres par ex. Vous accdez automatiquement l'illustration en couleurs correspondante. Les lignes repres munies de numros au niveaux des diffrentes structures anatomiques vous permettent de vous orienter rapidement dans le texte.

A gauche des illustrations, vous trouvez les drapeaux nationaux correspondant aux langues : latin, anglais, allemand, espagnol, franais, portugais et japonais.

Cliquez sur la langue dsire, et les structures chiffres sur l'illustration sont affiches dans la langue slectionne. Este ficheiro pdf. Todas as estruturas e rgos do torso cientfico 3B Scientific acham-se em 33 representaes coloridas providas das respectivas legendas em 7 lnguas diferentes. Alm disso, h textos auxiliares de carcter informativo para ajud-lo nas suas aulas.

Voce pode tambm imprimir pginas individuais a cor para distribuir entre os seus estudantes ou imprimir ilustraes em transparncias para serem apresentadas nas aulas. Como funciona: Escolha primeiro o modelo do torso que quer na seguinte matriz. Clique no nmero do artigo que se acha tambm nos dados bsicos do torso correspondente por exemplo B Ter acesso a um mapa sinptico para o torso escolhido. Para retornar pgina anterior, simplesmente clique no smbolo na barra de menus.

Abrindo a janela de navegao tambm possvel navegar pelo arquivo atravs de uma rvore de diretrios. Por favor, coloque a cabea se disponvel em seu modelo com os dois pinos de metal no torso e remova as pequenas tiras de papel que so colocadas para proteger a pintura dos orgos internos durante o transporte. Remova primeiro os rgos internos se voc deseja trocar as inserses genitais quando disponveis Assegure-se de que o torso esteja completamente montado aps cada demonstrao.

Este deve ser guardado em posio vertical e coberto com capa protetora. Evite exposio ao calor excessivo, como por exemplo, longos perodos luz direta do sol. Limpe o torso com uma soluo de sabo neutro nunca use solventes. Todos os rgos e partes conectveis podem ser readquiridos bastando citar o nome e o modelo exatos.

Entretanto, devido ao alto padro de qualidade dos produtos 3B Scientific, estamos certos de que voc s ira precisar desse servio se alguma parte ou orgo forem perdidos.

E agora tempo de comear a aproveitar o seu torso 3B Scientific. Clique depois numa das reas azuis com os nmeros correspondendo s pginas e aos ttulos selecionados por ex.

Ter automaticamente acesso representao colorida seleccionada. As linhas de referncia contendo os nmeros das diferentes estruturas anatmicas permitem orientar-se rapidamente na parte do texto escolhida. Clique na lngua desejada e as estruturas anatmicas numeradas da ilustrao sero indicadas na lngua selecionada.

B08 02 12 13 16 20 24 25 27 29 32 Trunk, bisexual Head with brain hemisphere Brain hemisphere Eye, open Female chest wall Lungs Heart Liver and open stomach Small intestine and large intestine Female genital organs. B11 01 12 13 16 21 25 26 29 Trunk, asexual Head with brain hemisphere Brain hemisphere Eye, open Pulmonary lobes with ribs Heart Liver and stomach Small intestine and large intestine. B15 02 12 13 16 21 25 27 29 30 Trunk, bisexual Head with brain hemisphere Brain hemisphere Eye, open Pulmonary lobes with ribs Heart Liver and open stomach Small intestine and large intestine Male genital organs.

B17 01 03 14 15 16 21 25 27 29 Trunk, asexual Trunk, with open back section Head with four-part brain Four-part brain hemisphere Eye, open Pulmonary lobes with ribs Heart Liver and open stomach Small intestine and large intestine.

B19 01 03 14 15 16 24 25 26 28 Trunk, asexual Trunk, with open back section Head with four-part brain Four-part brain hemisphere Eye, open Lungs Heart Liver and stomach Entire intestine.

B30 02 12 13 16 20 24 25 27 29 30 32 Trunk, bisexual Head with brain hemisphere Brain hemisphere Eye, open Female chest wall Lungs Heart Liver and open stomach Small intestine and large intestine Male genital organs Female genital organs.

B35 02 03 14 15 16 20 24 25 27 29 30 32 Trunk, bisexual Trunk, with open back section Head with four-part brain Four-part brain hemisphere Eye, open Female chest wall Lungs Heart Liver and open stomach Small intestine and large intestine Male genital organs Female genital organs.

B40 04 05 14 15 16 22 24 25 27 29 30 32 Trunk, bisexual Trunk, with open back section Head with four-part brain Four-part brain hemisphere Eye, open Chest wall and abdominal wall muscles Lungs Heart Liver and open stomach Small intestine and large intestine Male genital organs Female genital organs.

B41 06 07 08 09 10 17 18 19 23 Trunk bisexual Trunk, with open back section Hip and thigh Muscular arm Muscular arm Head with neck Head Brain hemisphere Chest wall and abdominal wall muscles Lungs 25 27 29 Heart Liver and open stomach Small intestine and large intestine Male genital organs. B42 06 07 08 09 10 17 18 19 23 Trunk bisexual Trunk, with open back section Hip and thigh Muscular arm Muscular arm Head with neck Head Brain hemisphere Chest wall and abdominal wall muscles Lungs 25 27 29 Heart Liver and open stomach Small intestine and large intestine Male genital organs.

B08 02 12 13 16 20 24 25 27 29 32 Tronco femenino y masculino Cabeza con hemisferio cerebral Hemisferio cerebral Ojo, abierto Pared torcica femenina Pulmones Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales femeninos.

B11 01 12 13 16 21 25 26 29 Tronco, sin sexo Cabeza con hemisferio cerebral Hemisferio cerebral Ojo, abierto Lbulo del pulmn con costillas Corazn Hgado e estmago Intestino delgado y grueso. B13 01 12 13 16 24 25 26 28 Tronco, sin sexo Cabeza con hemisferio cerebral Hemisferio cerebral Ojo, abierto Pulmones Corazn Hgado e estmago Intestino entero.

B15 02 12 13 16 21 25 27 29 30 Tronco femenino y masculino Cabeza con hemisferio cerebral Hemisferio cerebral Ojo, abierto Lbulo del pulmn con costillas Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos.

B17 01 03 14 15 16 21 25 27 29 Tronco, sin sexo Tronco con la espalda abierta Cabeza con cerebro en 4 partes Hemisfero en 4 partes Ojo, abierto Lbulo del pulmn con costillas Corazn Hgado e Estmago abierto Intestino delgado y grueso. B19 01 03 14 15 16 24 25 26 28 Tronco, sin sexo Tronco con la espalda abierta Cabeza con cerebro en 4 partes Hemisfero en 4 partes Ojo, abierto Pulmones Corazn Hgado e estmago Intestino entero.

B30 02 12 13 16 20 24 25 27 29 30 32 Tronco femenino y masculino Cabeza con hemisferio cerebral Hemisferio cerebral Ojo, abierto Pared torcica femenina Pulmones Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos rganos sexuales femeninos.

B32 02 11 20 24 25 26 28 30 32 Tronco femenino y masculino Cabeza Pared torcica femenina Pulmones Corazn Hgado e estmago Intestino entero rganos sexuales masculinos rganos sexuales femeninos. B35 02 03 14 15 16 20 24 25 27 29 30 32 Tronco femenino y masculino Tronco con la espalda abierta Cabeza con cerebro en 4 partes Hemisfero en 4 partes Ojo, abierto Pared torcica femenina Pulmones Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos rganos sexuales femeninos.

B40 04 05 14 15 16 22 Tronco femenino y masculino Tronco con la espalda abierta Cabeza con cerebro en 4 partes Hemisfero en 4 partes Ojo, abierto Msculos de la pared torcica y abdominal Pulmones Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos rganos sexuales femeninos. B41 06 07 08 09 10 17 18 19 23 Tronco feminino y masculino Tronco con la espalda abierta Cadera y muslo Brazo con msculos Brazo con msculos Cabeza con cuello Cabeza Hemisferio cerebral Msculos de la pared torcica y abdominal Pulmones 25 27 29 31 Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos.

B42 06 07 08 09 10 17 18 19 23 Tronco feminino y masculino Tronco con la espalda abierta Cadera y muslo Brazo con msculos Brazo con msculos Cabeza con cuello Cabeza Hemisferio cerebral Msculos de la pared torcica y abdominal Pulmones 25 27 29 31 Corazn Hgado e Estmago abierto Intestino delgado y grueso rganos sexuales masculinos. B08 02 12 13 16 20 24 25 27 29 32 Tronc pour les deux sexes Tte avec moiti de cerveau Moiti de cerveau il, ouvert Paroi thoracique fminine Poumons Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux fminins.

B11 01 12 13 16 21 25 26 29 Tronc sans sexe Tte avec moiti de cerveau Moiti de cerveau il, ouvert Poumon avec ctes Le cur Foie et Estomac Intestin grle et clon. B15 02 12 13 16 21 25 27 29 30 Tronc pour les deux sexes Tte avec moiti de cerveau Moiti de cerveau il, ouvert Poumon avec ctes Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins. B17 01 03 14 15 16 21 25 27 29 Tronc sans sexe Tronc avec partie dorsale ouverte Tte avec cerveau en 4 parties Hmisphre en 4 parties il, ouvert Poumon avec ctes Le cur Foie et Estomac ouvert Intestin grle et clon.

B19 01 03 14 15 16 24 25 26 28 Tronc sans sexe Tronc avec partie dorsale ouverte Tte avec cerveau en 4 parties Hmisphre en 4 parties il, ouvert Poumons Le cur Foie et Estomac Intestin complet. B30 02 12 13 16 20 24 25 27 29 30 32 Tronc pour les deux sexes Tte avec moiti de cerveau Moiti de cerveau il, ouvert Paroi thoracique fminine Poumons Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins Organes gnitaux fminins.

B35 02 03 14 15 16 20 24 25 27 29 30 32 Tronc pour les deux sexes Tronc avec partie dorsale ouverte Tte avec cerveau en 4 parties Hmisphre en 4 parties il, ouvert Paroi thoracique fminine Poumons Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins Organes gnitaux fminins. B40 04 05 14 15 16 22 Tronc pour les deux sexes Tronc avec partie dorsale ouverte Tte avec cerveau en 4 parties Hmisphre en 4 parties il, ouvert Muscles de la paroi thoracique et de la paroi abdominale Poumons Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins Organes gnitaux fminins.

B41 06 07 08 09 10 17 18 19 23 Tronc pour les deux sexes Tronc avec partie dorsale ouverte Hanche et cuisse Musculature du bras Musculature du bras Tte avec cou Tte Moiti de cerveau Muscles de la paroi thoracique et de la paroi abdominale Poumons 25 27 29 31 Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins.

B42 06 07 08 09 10 17 18 19 23 Tronc pour les deux sexes Tronc avec partie dorsale ouverte Hanche et cuisse Musculature du bras Musculature du bras Tte avec cou Tte Moiti de cerveau Muscles de la paroi thoracique et de la paroi abdominale Poumons 25 27 29 31 Le cur Foie et Estomac ouvert Intestin grle et clon Organes gnitaux masculins.

B08 02 12 13 16 20 24 25 27 29 32 Tronco, assexuado Cabea com hemisfrio cerebral Hemisfrio cerebral Olho, aberto Parede torcica feminina Pulmes Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais femininos. B11 01 12 13 16 21 25 26 29 Tronco, assexuado Cabea com hemisfrio cerebral Hemisfrio cerebral Olho, aberto Lobos pulmonares com costelas Corao Fgado e Estmago Intestino delgado e intestino grosso.

B15 02 12 13 16 21 25 27 29 30 Tronco, bissexual Cabea com hemisfrio cerebral Hemisfrio cerebral Olho, aberto Lobos pulmonares com costelas Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos. B17 01 03 14 15 16 21 25 27 29 Tronco, assexuado Tronco, com seo do dorso aberto Cabea com crebro em 4 partes Hemisfrio em 4 partes Olho, aberto Lobos pulmonares com costelas Corao Fgado e Estmago aberto Intestino delgado e intestino grosso.

B19 01 03 14 15 16 24 25 26 28 Tronco, assexuado Tronco, com seo do dorso aberto Cabea com crebro em 4 partes Hemisfrio em 4 partes Olho, aberto Pulmes Corao Fgado e Estmago Intestino completo. B30 02 12 13 16 20 24 25 27 29 30 32 Tronco, bissexual Cabea com hemisfrio cerebral Hemisfrio cerebral Olho, aberto Parede torcica feminina Pulmes Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos rgos genitais femininos.

B32 02 11 20 24 25 26 28 30 32 Tronco, bissexual Cabea Parede torcica feminina Pulmes Corao Fgado e Estmago Intestino completo rgos genitais masculinos rgos genitais femininos. B35 02 03 14 15 16 20 24 25 27 29 30 32 Tronco, bissexual Tronco, com seo do dorso aberto Cabea com crebro em 4 partes Hemisfrio em 4 partes Olho, aberto Parede torcica feminina Pulmes Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos rgos genitais femininos.

B40 04 05 14 15 16 22 Tronco, bissexual Tronco, com seo do dorso aberto Cabea com crebro em 4 partes Hemisfrio em 4 partes Olho, aberto Parede torcica e msculos da parede abdominal Pulmes Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos rgos genitais femininos. B41 06 07 08 09 10 17 18 19 23 Tronco, bissexual Tronco, com seo do dorso aberto Quadril e coxa Brao com a musculatura Brao com a musculatura Cabea com o pescoo Cabea Hemisfrio cerebral Parede torcica e msculos da parede abdominal Pulmes 25 27 29 31 Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos.

B42 06 07 08 09 10 17 18 19 23 Tronco, bissexual Tronco, com seo do dorso aberto Quadril e coxa Brao com a musculatura Brao com a musculatura Cabea com o pescoo Cabea Hemisfrio cerebral Parede torcica e msculos da parede abdominal Pulmes 25 27 29 31 Corao Fgado e Estmago aberto Intestino delgado e intestino grosso rgos genitais masculinos. Aorta, porcin ascendiente V. Bulbus oculi Os zygomaticum A.

Tronco femenino y masculino 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Regin frontal Regin orbitaria Regin temporal Regin nasal Regin infraorbitaria Regin infratemporal Regin labial Regin partidomasetrica Regin bucal o geniana Regin mentoniana M. Cerebral Hemisfero telencefalo izquiero Hueso frontal M.

Hemispherium telencephali sinistrum Cerebrum, fissura longitudinalis Polus occipitalis Cerebellum Cerebellum, tonsilla V. Rumpf mit geffneter Rckenpartie 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Linke Endhirnhlfte Lngsfurche des Grohirns Hinterhauptspol Kleinhirn Kleinhirn, Mandel Rechte Wirbelkrpervene Harte Hirnhaut der Wirbelsule Spinalganglion der Halswirbelsule Rckenmark, Halsteil Spinalnerv, hintere Wurzel Rckenmark, hintere Mittelfurche 7.

Halswirbel, Querfortsatz 1. Brustwirbel, Bogen Rckenmark, Brustteil 2. Rippe Rckenmark, Brustteil uere Zwischenrippenmuskeln Wirbelkanal Brustwirbel, Bogen Brustnerv Rippe 1. Lendenwirbel, Bogen Spinalganglion der Lendenwirbelsule 5.

Tronco con la espalda abierta 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Hemisfero telencefalo izquiero Cerebro, cisura longitudinal Polo occipital Cerebelo Cerebelo, amgdala V.

Vertebra lombar Msculo quadrado lombar Msculo psoas maior Msculos intertransversos lombares laterais Msculo grande dorsal Arco da 4a. Vrtebra lombar Gnglio espinhal lombar Processo transverso da quinta vrtebra lombar Processo articular superior do osso sacro Osso ilaco Gnglio espinhal sacral Crista sacra intermediria crista articular Quarto nervo sacro Msculo glteo mximo Vrtebra torcica Processo transverso Diapfise Substncia alba da medula espinhal Corno anterior da medula espinhal Canal vertebral Discos intervertebrais Processo espinhoso Arco vertebral Corno posterior da medula espinhal Substncia cinzenta central intermediria da medula espinhal Ramo posterior do nervo espinhal Ramo anterior do nervo espinhal Gnglio espinhal glnglio intervertebral Ramo comunicante Corpo da vrtebra.

Rumpf, zweigeschlechtig 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Kopfwender Schulter-Zungenbeinmuskel, oberer Bauch M. Rin izquierdo V. Medulla spinalis, pars cervicalis V. Halswirbel, Querfortsatz Spinalnerv, hintere Wurzel Schulterhhe 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 a 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Untergrtenmuskel Kleiner Rundmuskel Hinteres inneres Venengeflecht des Wirbels Wirbelkrper Zwischenganglienast Wirbelkanal Tronco con la espalda abierta 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Mdulla espinal, porcin cervical A.

Cartilago thyroidea M. Iliaca interna sinistra A. Tronco feminino y masculino 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Cartlago tiroides M.

Trunk, with open back section 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Sternocleidomastoideus muscle Levator scapulae muscle Trapezius muscle, tendo Scapular spine Deltoideus muscle Trapezius muscle Long head of triceps brachii muscle Lateral head of triceps brachii muscle Latissimus dorsi muscle Obliquus externus abdominis muscle Crest of ilium Gluteus medius muscle Gluteus maximus muscle Iliotibial tract Long head of biceps femoris muscle Semitendinosus muscle Brachial plexus Serratus anterior muscle Pectoralis major muscle Pectoralis minor muscle Subclavius muscle Subclavian vein Subclavian artery Clavicle Omohyoid muscle.

Tronc avec partie dorsale ouverte 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Muscle sternoclidomastodien Muscle lvateur de lomoplate Muscle trapze, tendon Epaule, pine Muscle deltode Muscle trapze Muscle triceps brachial, tte longue Muscle triceps brachial, tte latrale Trs grand muscle du dos Muscle oblique externe de labdomen Crte iliaque Muscle fessier moyen Muscle fessier le plus grand Faisceau iliotibial Muscle biceps du fmur, tte longue Muscle semitendineux Plexus brachial Muscle dentel antrieur Grand muscle pectoral Petit muscle pectoral Muscle sous-clavier Veine sous-clavire Artre sous-clavire Clavicule Muscle omohyodien.

Tronco, com seo do dorso aberto 1 Msculo esternocleidomastideo msculo esterno-mastideo 2 Msculo elevador da escpula 3 Tendo do msculo trapecio 4 Espinha da escpula 5 Msculo deltide 6 Msculo trapzio 7 Cabea longa do msculo trceps do brao 8 Cabea lateral do msculo trceps do brao 9 Msculo grande dorsal 10 Msculo oblquo externo do abdome 11 Crista ilaca 12 Msculo glteo mdio 13 Msculo glteo mximo 14 Trato iliotibial faixa de Maissiat 15 Cabea longa do msculo bceps da coxa 16 Msculo semitendinoso 17 Plexo braquial 18 Msculo serrtil anterior 19 Msculo grande peitoral 20 Msculo peitoral menor 21 Msculo subclvio 22 Veia subclvia 23 Artria subclvia 24 Clavicula 25 Msculo omoiideo.

Hfte und Oberschenkel 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Mittlerer Gesmuskel Kleiner Gesmuskel Gerader Oberschenkelmuskel Spanner der Oberschenkelbinde Schneidermuskel Darmbein-Lendenmuskel Oberschenkelnerv Oberschenkelschlagader Oberschenkelvene M.

Conexus intertendinei Mm. Brazo con msculos 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 32 33 34 35 36 37 38 39 40 31 41 42 43 44 45 46 47 Conexin intertendinosa Mm. Musculature du bras 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 32 33 34 35 36 37 38 39 40 31 41 42 43 44 45 46 47 Jonction intertendineuse Muscles interosseux dorsaux de la main Nerf radial Artre radiale Rtinacle des extenseurs Muscle abducteur court du pouce Muscle extenseur du poignet radial court Muscle extenseur du poignet radial long Muscle brachioradial Muscle brachial Muscle deltode Muscle sus-nineux Epaule, pine Muscle trapze Muscle infraspinal Trs grand muscle du dos Grand muscle rond Petit muscle rond Espace axillaire mdial Muscle triceps brachial, tte longue Muscle triceps brachial, tte latrale Muscle triceps brachial, tendon Nerf cubital Muscle ancon Humrus, picondyle mdial Olcrne Muscle flexeur du poignet cubital Muscle extenseur des doigts Muscle extenseur du poignet cubital Muscle extenseur des doigts, tendon M.

Mtacarpien transverse superficiel Artres digitales palmaires communes Main, gaine des tendons des doigts Muscle flexeur profond des doigts, tendon Gaines fibreuses, partie anullaire Nerf cubital, nerfs digitaux palmaires propres Gaines fibreuses, partie cruciforme Arc palmaire superficiel Muscle abducteur du petit doigt de la main Muscle opposant du petit doigt de la main Nerf cubital, rameau superficiel Artres interosseuses dorsales Os mtacarpien, tte Artres digitales dorsales de la main Nerfs digitaux dorsaux de la main M.

Muskelarm 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Kapuzenmuskel Schlsselbein M. Mandibula, ramus Mandibula, corpus Foramen mentale Os parietale Sutura sphenosquamosa Os temporale, pars squamosa Sutura squamosa Os parietale Sutura lambdoidea Sutura parietomastiodea Os occipitale, squama Sutura occipitomastoidea Processus mastoideus Porus acusticus externus Glandula parotidea Pili Regio cervicalis lateralis M.

Cabeza 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 a 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 Regin frontal Pelos Regin temporal Raiz nasal Regin orbitaria Prpado superior Regin infratemporal Regin cigomtica Regin infraorbitaria Regin nasal Regin partidomasetrica Labio superior Labio inferior Regin labial Surco mentonianolabial Regin mentoniana Duramadre craneal Hemisfero telencefalo izquiero Hueso frontal Orificio supraorbitario Hueso parietal Hueso esfenoides Hueso temporal Ojo izquierdo Hueso nasal Hueso cigomtico Orificio infraorbitario Maxilar Mandbula, rama Diente canino Mandbula, cuerpo Orificio mentoniano Protuberancia mentoniana Pelos Subcutis Hueso frontal Hemisfero telencefalo izquiero Circunvolucin Surco Duramadre craneal Hueso parietal Sutura esfenofrontal Hueso esfenoides Hueso nasal Maxilar Hueso cigomtico Mandbula, apfisis condilar Mandbula, apfisis coronoides M.

Schneidezahn M. Cabeza con hemisferio cerebral 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Pelos Regin frontal Glabela Regin temporal Raiz nasal Regin orbitaria Prpado superior Regin infratemporal Regin cigomtica Regin infraorbitaria Regin nasal Narinas Regin labial Labio superior Regin partidomasetrica Labio inferior Surco mentonianolabial Regin mentoniana Cerebro, cisura longitudinal Surco frontal superior A.

Sulcus cinguli Lobulus paracentralis Precuneus Sulcus parietooccipitalis A. Sulcus precentralis Gyrus frontalis inferior, pars opercularis Sulcus lateralis, ramus ascendens A. Gehirnhlfte 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Sulcus cinguli Lobulus paracentralis Precuneus Sulcus parietooccipitalis Hintere Hirnschlagader Balkenwulst Hintere Verbindung Cuneus Vierhgelplatte Mittelhirndach Cerebellum, corpus medullare Vierte Hirnwasserkammer Lebensbaum Brcke Kleinhirnhalbkugel A.

Hemisferio cerebral 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Surco cngulo Lobulillo paracentral Precua Surco parieto-occipital A. Hemisfrio cerebral 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 Sulco do cngulo Lbulo paracentral Pr-cneo Sulco parietooccipital Artria cerebral posterior Esplnio do corpo caloso Comissura posterior Cneo Lmina quadrigmea Tegmento do mesencfalo Corpo medular do cerebelo Quarto ventrculo ventrculo do rombencfalo rvore da vida Ponte de Varlio Hemisfrio cerebelar Artria cerebelar pstero-inferior Canal central Nervo hipoglosso 12o.

Cerebrum, fissura longitudinalis Sulcus frontalis superior Arteria cerebri Gyrus frontalis medius Os frontale Os sphenoidale M. Maxilla M. Kopf mit 4-teiligem Gehirn 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Lngsfurche des Grohirns Sulcus frontalis superior Hirnschlagader Gyrus frontalis medius Stirnbein Keilbein Schlfenmuskel Foramen supraorbitale Augapfel Trnendrse Trnensack Jochbein uere Kopf-Halsschlagader M.

Cabeza con cerebro en 4 partes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 Cerebro, cisura longitudinal Surco frontal superior A.

Lobus frontalis Sulcus lateralis A. Thalamus N. Hemisfero en 4 partes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Lbulo frontal Surco lateral A.

Hemisfrio em 4 partes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 Lobo frontal Sulco lateral Artria cerebral anterior Plo frontal Lobo temporal Ponte de Varlio Nervo hipoglosso 12o.

Eye, open a1 a2 a3 a4 a5 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Eye, Eye, Eye, Eye, Eye, superior view medial view anterior view lateral view inferior view. Levator palpebrae superioris muscle Middle palpebral ligament Palpebral part of lacrimal gland Inferior palpebra [eyelid] Superior palpebra [eyelid] Fornix of lacrimal sac Lacrimal sac Orbital part of lacrimal gland Rectus lateralis muscle Rectus medialis muscle Rectus inferior muscle Rectus superior muscle Tendon of obliquus superior muscle Obliquus inferior muscle Optic nerve Pupil Ball of the eye [ocular bulb] Iris.

The eye functions as a "biological camera" which transmits images from the surroundings to the brain. The eyeball is approximately spherical in shape and has a diameter of approx. The light-permeable cornea covers it at the front like a watch-glass. The central component of the eye is the lens which is approx. It focuses the light and projects it onto the retina which lines the eyeball from the inside. Receptors in the retina convert the light into impulses which are transmitted via the optic nerve to the brain.

Light enters the eye through the pupil. The iris regulates the diameter of the pupil and thus the amount of light entering the eyes. Six ocular muscles move the eyeball in different directions like a sphere, the eyelids protect the eyes from foreign bodies and drying out, and also prevent too much light entering the eyes.

Auge, geffnet a1 a2 a3 a4 a5 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Auge, Auge, Auge, Auge, Auge, von von von von von oben medial vorn lateral unten. Heber des Oberlides Lig. Der Augapfel hat etwa Kugelform und mit ca. Vorn bedeckt ihn die lichtdurchlssige Hornhaut wie ein Uhrglas. Zentraler Bestandteil des Auges ist die ca. Rezeptoren in der Netzhaut wandeln den Lichtimpuls in Reize um, die ber den Sehnerv ans Gehirn weitergeleitet werden.

Das Licht tritt ins Auge durch die Pupille ein. Die Pupillenweite und damit die einfallende Lichtmenge wird durch die Regenbogenhaut Iris reguliert. Sechs Augenmuskeln bewegen den Augapfel wie eine Kugel in verschiedene Richtungen, die Augenlider schlielich schtzen das Auge vor Fremdkrpern, Austrocknung und zu groem Lichteinfall. Ojo, abierto a1 a2 a3 a4 a5 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Ojo, Ojo, Ojo, Ojo, Ojo, visin visin visin visin visin superior medial anterior lateral inferior.

El ojo sirve como cmara biolgica transmitiendo imgenes de su entorno al cerebro. El globo ocular tiene ms o menos la forma de una bola y mide aproximadamente 2,4cm de dimetro. Adelante lo cubre la crnea transparente como un cristal de reloj. La parte central del ojo, el cristalino, mide alrededor de 9mm. Este cristalino forma un haz de los rayos luminosos que entran en el ojo y lo proyecta en la retina que forma la capa interior del globo ocular. La retina contiene receptores que transforman el impulso de luz en estmulos nerviosos que a continuacin son transmitidos a travs del nervio ptico al cerebro.

La luz entra al interior del ojo por la pupila. La abertura de la pupila y con ello tambin la cantidad de luz que entra, la regula el ris. Seis msculos permiten que el globo ocular pueda moverse en diversas direcciones a modo de una bola. Los prpados protegen el ojo de cuerpos extraos, de desecacin y de excesiva incidencia de luz. Muscle releveur de la paupire suprieure Ligament palpbral interne Glande lacrymale, partie palpbrale Paupire infrieure Paupire suprieure Sac lacrymal, fornix Sac lacrymal Glande lacrymale, partie orbitaire Muscle droit latral Muscle droit mdial Muscle droit infrieur Muscle droit suprieur Muscle oblique suprieur, tendon Muscle oblique infrieur Nerf optique II Pupille Bulbe de lil Iris.

L'il sert d'"appareil photographique biologique" pour la transmission des images de l'environnement au cerveau. Le globe oculaire a peu prs la forme d'une boule et mesure environ 2,4cm de diamtre.

A l'avant, la corne transparente le recouvre la manire d'un verre de montre. L'lment principal de l'il est le cristallin d'environ 9mm qui focalise la lumire et la projette sur la rtine tapissant l'intrieur du globe oculaire. Les rcepteurs de la rtine transforment l'impulsion lumineuse en excitations qui sont transmises au cerveau par le nerf optique. La lumire entre dans l'il par la pupille. Le diamtre pupillaire, et par consquent la quantit de lumire y pntrant, est rgl par l'iris.

Six muscles oculaires font bouger le globe oculaire comme une boule dans plusieurs directions; les paupires protgent l'il contre les corps trangers, le dsschement et une trop forte incidence de la lumire. Olho, aberto a1 a2 a3 a4 a5 Olho, Olho, Olho, Olho, Olho, vista vista vista vista vista superior medial anterior lateral inferior.

O olho funciona como uma cmara biolgica que transmite as imagens das redondezas para o crebro. O globo ocular aproximadamente esfrico em forma e tem um dimetro de cerca de 2. Na frente, ele coberto por uma crnea permevel a luz que funciona como uma lente.

O componente central do olho a lente, que mede aproximadamente 9mm. Ela focaliza a luz e a projeta sobre a retina que alinha o globo ocular pela parte interna. Receptores na retina convertem a luz em impulsos que so transmitidos atravs do nervo ptico para o crebro. A luz entra no olho atravs da pupila. A ris regula o dimetro da pupila e assim a quantidade de luz que entra nos olhos.

Seis msculos oculares movem o globo ocular em diferentes direes como uma esfera, as plpebras protegem os olhos de corpos estranhos e de secaram e tambm evitam que a luz em excesso entre pelos olhos. Halsnerv Beinerv [XI. Sinus sagittalis superior V. Pharynx Fascia pharyngobasilaris Membrana atlantooccipitalis anterior Os occipitale Lig.

Cabeza 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Seno sagital superio Vena de Galeno Seno recto Canal nasofarngeo Confluencia sinusal Receso farngeo Trompa auditiva, orificio faringeo Amgdala farngea [amgdala adenoides] Atlas, arco anterior Atlas, arco posterior Axis, diente Axis, apfisis espinosa Paladar blando [velo palatino] Disco intervertebral Amgdala palatina Orificio ciego Amgdala lingual Lengua M.

Sulcus centralis Gyrus precentralis Corpus callosum, truncus Sulcus cinguli Gyrus frontalis superior Gyrus cinguli Corpus callosum, genu Ventriculus lateralis Fornix Lobus frontalis Corpus callosum, rostrum A. Hirnnerv] Umherziehender Nerv [X. Hirnnerv] Olive Zungenschlundnerv [IX. Hirnnerv] Augenabziehnerv [VI. Hirnnerv] Drillingsnerv [V. Hirnnerv] Gerade Windung. Hemisferio cerebral 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Surco central Circunvolucin precentral Cuerpo calloso, tronco Surco cngulo Circunvolucin frontal superior Circunvolucin del cngulo Cuerpo calloso, rodilla Ventrculo lateral Frnix Lbulo frontal Cuerpo calloso, pico A.

Hemisfrio cerebral 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 Sulco central fissura de Rolando Giro pr-central Tronco do corpo caloso Sulco do cngulo Giro frontal superior Giro do cngulo Joelho do corpo caloso Ventrculo lateral Frnice Lobo frontal Rostro do corpo caloso Artria cerebral mdia Comissura anterior Lmina terminal Sulco hipotalmico Nervo ptico 2o.

Female chest wall 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Sternoclavicular joint Sternal body Manubrium of sternum Xiphoid process Sternal part of diaphragm Clavicle Costicartilage [costal cartilage] First rib Second rib 3rd rib 4th rib 5th rib 6th rib 7th rib 8th rib 9th rib 10th rib 11th rib Costal arch Transversus thoracis muscle Transversus abdominis muscle Sternocostal joint Internal intercostal muscles Serratus anterior muscle Pectoralis major muscle.

The thoracic cavity contains the well-protected heart and lungs. The thorax is formed in the man and woman by 12 pairs of ribs which are attached to the sternum at the front and the vertebral column at the back by means of little joints. The two lower ribs float in the abdominal wall. The thoracic cavity is separated from the visceral cavity by the diaphragm, a muscle plate with a central tendon. The volume of the thorax can be increased or decreased by the diaphragm and the chest wall muscles.

The lungs, which are located on the inner wall, are involved passively in this volume change. An increase in volume leads to inspiration of air, a decrease to expiration.

Weibliche Brustwand 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Brustbein-Schlsselbeingelenk Brustbeinkrper Handgriff des Brustbeins Schwertfortsatz Zwerchfell, Brustbeinteil Schlsselbein Rippenknorpel 1.

Rippe 2. Rippe 3. Rippe 4. Rippe 5. Rippe 6. Rippe 7. Rippe 8. Rippe 9. Rippe Der vom Brustkorb umschlossene Eingeweideraum wird Brusthhle genannt. In ihm liegen Herz und Lunge gut geschtzt. Der Brustkorb wird bei Mann und Frau von 12 Rippenpaaren gebildet, diese sind vorn durch das Brustbein verbunden und setzen im Rckenbereich mit kleinen Gelenken an der Wirbelsule an. Die unteren 2 Rippen enden frei in der Bauchwand.

Der Rauminhalt des Brustkorbs kann durch das Zwerchfell und die Muskeln der Brustwand vergrert und verkleinert werden. Die an der Innenwand anliegenden Lungen machen diese Volumennderung passiv mit, die Vergrerung des Volumens fhrt zur Einatmung von Luft, die Verkleinerung zur Ausatmung. La cavidad de las entraas que est rodeada de la caja torcica se llama cavidad torcica. En la cavidad se encuentran situados y bien protegidos el corazn y el pulmn.

La caja torcica est formada tanto en varones como en mujeres por 12 costillas en ambos lados. Estas costillas se articulan en la parte anterior del pecho con el esternn y en la parte posterior con la columna vertebral. Las dos costillas inferiores terminan sin conexin en la pared torcica. El diafragma, un tabique musculomembranoso y tendinoso en el centro, separa el trax del abdomen. El volumen de la caja torcica es variable y puede aumentarse o disminuirse por acciones del diafragma y de los msculos de la pared torcica.

Los pulmones vecinos, que se adaptan suavemente a la pared interior, participan pasivamente en esta variacin del volumen, realizando la inspiracin de aire al aumentar el volumen y la expiracin al disminuir el volumen. Le volume des viscres entour par le thorax s'appelle la cavit thoracique. Le cur et les poumons s'y trouvent bien protgs. Chez l'homme comme chez la femme, le thorax est form de 12 paires de ctes; celles-ci sont relies l'avant par le sternum et sont attaches dans la zone dorsale la colonne vertbrale par des petites articulations.

Les 2 ctes infrieures flottent dans la paroi abdominale. Le diaphragme, une plaque musculaire avec un centre tendineux, spare l'espace de la poitrine de l'espace des viscres. Le diaphragme et les muscles de la paroi thoracique peuvent augmenter et rduire le volume du thorax. Les poumons se trouvant contre la paroi interne participent passivement cette modification du volume; l'augmentation du volume provoque l'inspiration d'air, la rduction du volume provoque l'expiration.

Parede torcica feminina 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Articulao esternoclavicular Corpo do esterno mesosterno Manbrio esternal pr-esterno Cartilagem xifidea Poro esternal do diafragma Clavicula Cartilagem costal costocartilagem Primeira costela Segunda costela Terceira costela Quarta costela Quinta costela Sexta costela Stima costela Oitava costela Nona costela Dcima costela Dcima-primeira costela Arco costal Msculo transverso do trax Msculo transverso do abdome Articulao esternocostal Msculos intercostais internos Msculo serrtil anterior Msculo grande peitoral.

A cavidade torcica contm os bem protegidos corao e pulmes. O trax formado, no homem e na mulher, por 12 pares de costelas que so presos ao esterno na frente e a coluna vertebral na parte posterior por meio de pequenas juntas. As dos costelas inferiores flutuam na parede abdominal. A cavidade torcica separada da cavidade visceral pelo diafragma, uma placa muscular com um tendo central.

O volume do trax pode ser aumentada ou diminuda pelo diafragma e pelos msculos da parede peitoral. Os pulmes, que esto localizados na parede interna, so envolvidos passivamente nesta mudana de volume. O aumento do volume gerado pela inspirao do ar, a diminuio pela expirao. Pulmonary lobes with ribs 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Sternoclavicular joint Sternal body Manubrium of sternum Xiphoid process Costal part of diaphragm Sternal part of diaphragm Tendinous centre [phrenic centre] Clavicle Costicartilage [costal cartilage] First rib Second rib 3rd rib 4th rib 5th rib 6th rib 7th rib 8th rib 9th rib 10th rib 11th rib Horizontal fissure of right lung Apex of lung Cardiac impression of lung Left superior pulmonary lobe Oblique fissure of left lung Left inferior pulmonary lobe Right superior pulmonary lobe Oblique fissure of right lung Right middle pulmonary lobe Right inferior pulmonary lobe Cardiac incisure of left lung.

Lungenflgel mit Rippen 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Brustbein-Schlsselbeingelenk Brustbeinkrper Handgriff des Brustbeins Schwertfortsatz Zwerchfell, Rippenteil Zwerchfell, Brustbeinteil Sehnenzentrum des Zwerchfells Schlsselbein Rippenknorpel 1.

Rippe Pulmo dexter, fissura horizontalis Lungenspitze Lunge. Lobos pulmonares com costelas 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Articulao esternoclavicular Corpo do esterno mesosterno Manbrio esternal pr-esterno Cartilagem xifidea Diafragma, poro costal Poro esternal do diafragma Tendo central do diafragma tendo triflio Clavicula Cartilagem costal costocartilagem Primeira costela Segunda costela Terceira costela Quarta costela Quinta costela Sexta costela Stima costela Oitava costela Nona costela Dcima costela Dcima-primeira costela Fssura horizontal do pulmo esquerdo pice do pulmo Impresso cardaca do pulmo Lobo superior do pulmo esquerdo Fissura oblqua do pulmo esquerdo Lobo inferior do pulmo esquerdo Lobo superior do pulmo direito Fissura oblqua do pulmo direito Lobos medianos, pulmo direito Lobo inferior do pulmo direito Incisura cardaca do pulmo esquerdo.

Chest wall and abdominal wall muscles 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Manubrium of sternum Costicartilage [costal cartilage] First rib Second rib 3rd rib 4th rib 5th rib 6th rib 7th rib 8th rib 9th rib 10th rib 11th rib Transversus thoracis muscle Transversus abdominis muscle Sternocostal joint Internal intercostal muscles Serratus anterior muscle Pectoralis major muscle Arcuate line Sheath of rectus abdominus muscle Umbilicus Sternocleidomastoideus muscle Rectus abdominis muscle.

The three lower ribs float in the abdominal wall. The abdominal wall consists of several muscle layers which are arranged horizontally, vertically and obliquely between the costal arch and the pelvis. These muscles are used to adapt the volume of the abdominal cavity to the needs of the internal organs. They are also involved in bending, inclination and turning of the trunk and also have an important function in both opposing and working with the deep back muscles.

Muskeln der Brust- und Bauchwand 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Handgriff des Brustbeins Rippenknorpel 1. Die unteren 3 Rippen enden frei in der Bauchwand. Die Bauchwand besteht aus mehreren Muskelschichten, die in waagerechter, senkrechter und schrger Richtung zwischen Rippenbogen und Becken verlaufen.

Diese Muskeln dienen zum einen dazu, das Volumen des Bauchraums dem Bedarf der inneren Organe anzupassen, zum anderen wirken sie mit bei Beugung, Neigung und Drehung des Rumpfes. Auerdem haben sie eine wichtige Funktion im Gegenspiel als auch im Zusammenwirken mit den tiefen Rckenmuskeln. Las tres costillas inferiores terminan sin conexin en la pared torcica.

La pared abdominal est compuesta de varias capas de msculos, que discurren en direccin horizontal, vertical y oblicua entre el arco costal y el pelvis. Estos msculos sirven para adaptar el volumen del abdomen al espacio requerido por los rganos internos. Adems actan en la flexin, la inclinacin y la rotacin del tronco y tienen una funcin importante en la coordinacin del cuerpo, junto con los msculos dorsales profundos. Les 3 ctes infrieures flottent dans la paroi abdominale.

La paroi abdominale se compose de plusieurs couches de muscles longeant horizontalement, verticalement et obliquement entre l'arc costal et le bassin. Ces muscles servent d'une part adapter le volume de l'abdomen aux ncessits des organes internes.

D'autre part, ils participent la flexion, l'inclinaison et la rotation du tronc et ont par ailleurs une fonction importante dans laction adverse et la coaction avec les muscles profonds du dos. Parede torcica e msculos da parede abdominal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 Manbrio esternal pr-esterno Cartilagem costal costocartilagem Primeira costela Segunda costela Terceira costela Quarta costela Quinta costela Sexta costela Stima costela Oitava costela Nona costela Dcima costela Dcima-primeira costela Msculo transverso do trax Msculo transverso do abdome Articulao esternocostal Msculos intercostais internos Msculo serrtil anterior Msculo grande peitoral Linha arqueada Bainha do msculo reto do abdome nulo umbilical Msculo esternocleidomastideo msculo esterno-mastideo 24 Msculo reto do abdome.

As trs costelas inferiores flutuam na parede abdominal. A parede abdominal consiste de diversas camadas de msculos que so superpostas horizontalmente, verticalmente e obliquamente entre o arco costal e a plvis. Esses msculos so usados para adaptar o volume da cavidade abdominal s necessidades dos rgos internos. Eles tambm so envolvidos em curvaturas, inclinaes e ngulos do tronco tendo uma importante funo tanto na oposio quanto no trabalho com os msculos profundos das costas.

Clavicula M. Chest wall and abdominal wall muscles 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Clavicle Pectoralis major muscle Glandular lobules of breast Mammary papilla Areola of mammary gland Rectus abdominis muscle Tendinous intersection Obliquus externus abdominis muscle Sheath of rectus abdominus muscle Umbilicus White line of abdomen Costoxiphoid ligament Sternocleidomastoideus muscle Sternohyoideus muscle Thyrohyoideus muscle Manubrium of sternum Breast bone Subclavius muscle Costal part of diaphragm Arcuate line Transversus abdominis muscle Obliquus internus abdominis muscle Ribs Xiphoid process Transversus thoracis muscle Serratus anterior muscle Pectoralis minor muscle Costicartilage [costal cartilage] Internal intercostal muscles.

Msculos de la pared torcica y abdominal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Clavcula M. Muscles de la paroi thoracique et de la paroi abdominale 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Clavicule Grand muscle pectoral Mamelle, lobe glandulaire Papille mammaire Mamelle, arole Muscle droit de labdomen Intersection tendineuse Muscle oblique externe de labdomen Gaine du muscle droit de labdomen Anneau ombilical Ligne blanche de labdomen Ligament costoxiphode Muscle sternoclidomastodien Muscle sternohyodien Muscle thyrohyode Sternum, manche Sternum Muscle sous-clavier Diaphragme, partie costale Ligne arque Muscle transverse de labdomen Muscle oblique interne de labdomen Ctes Pointe du sternum Muscle transverse du thorax Muscle dentel antrieur Petit muscle pectoral Cartilage costal Muscles intercostaux internes.

Parede torcica e msculos da parede abdominal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 Clavicula Msculo grande peitoral Lbulos da glndula mamria Mamilo Areola da mama Msculo reto do abdome Interseo tendinosa Msculo oblquo externo do abdome Bainha do msculo reto do abdome nulo umbilical Linha branca linha de Hunter Ligamento costoxifideo Msculo esternocleidomastideo msculo esterno-mastideo Msculo esternoiideo Msculo tireoiideo Manbrio esternal pr-esterno Esterno Msculo subclvio Diafragma, poro costal Linha arqueada Msculo transverso do abdome Msculo oblquo interno do abdome Costelas Cartilagem xifidea Msculo transverso do trax Msculo serrtil anterior Msculo peitoral menor Cartilagem costal costocartilagem Msculos intercostais internos.

Pulmo sinister, lobus superior Pulmo sinister, fissura obliqua Pulmo sinister, lobus inferior Pulmo dexter, lobus inferior Pulmo dexter, fissura obliqua Pulmo dexter, lobus medius Pulmo dexter, fissura horizontalis Pulmo dexter, lobus superior Pulmo, apex Diaphragma, pars costalis Diaphragma, centrum tendineum Pulmo, impressio cardiaca. Lungs 1 2 3 4 5 6 7 8 9 10 11 12 Left superior pulmonary lobe Oblique fissure of left lung Left inferior pulmonary lobe Right inferior pulmonary lobe Oblique fissure of right lung Right middle pulmonary lobe Horizontal fissure of right lung Right superior pulmonary lobe Apex of lung Costal part of diaphragm Tendinous centre [phrenic centre] Cardiac impression of lung.

Abdruck des Herzens. Pulmones 1 2 3 4 5 6 7 8 9 10 11 12 Pulmn izquierdo, lbulo superior Pulmn izquierdo, cisura oblicua Pulmn izquierdo, lbulo inferior Pulmn derecho, lbulo inferior Pulmn derecho, cisura oblicua Pulmn derecho, lbulo medio Pulmn derecho, cisura horizontal Pulmn derecho, lbulo superior Pulmn, vrtice Diafragma, porcin costal Centro tendinoso Pulmn, impresin cardiaca.

Poumons 1 2 3 4 5 6 7 8 9 10 11 12 Poumon gauche, lobe suprieur Poumon gauche, fissure oblique Poumon gauche, lobe infrieur Poumon droit, lobe infrieur Poumon droit, fissure oblique Poumon droit, lobe moyen Poumon droit, fissure horizontale Poumon droit, lobe suprieur Poumon, pointe Diaphragme, partie costale Noyau fibreux central du diaphragme Poumon, empreinte cardiaque.

Pulmes 1 2 3 4 5 6 7 8 9 10 11 12 Lobo superior do pulmo esquerdo Fissura oblqua do pulmo esquerdo Lobo inferior do pulmo esquerdo Lobo inferior do pulmo direito Fissura oblqua do pulmo direito Lobos medianos, pulmo direito Fssura horizontal do pulmo esquerdo Lobo superior do pulmo direito pice do pulmo Diafragma, poro costal Tendo central do diafragma tendo triflio Impresso cardaca do pulmo.

Cor, apex A. Aorta, pars ascendens Auricula dextra Auricula sinistra Ventriculus dexter Ventriculus sinister Atrium dextrum Atrium sinistrum Anulus fibrosus dexter Anulus fibrosus sinister V. The heart is the central circulatory organ and functions like a pump. It is a hollow muscular body which contracts 60 times at rest to times under stress per minute.

A septum divides the heart into a left and a right section. Each of these areas has an atrium and a ventricle. In the right section of the heart, deoxygenated blood from the systemic circulation is collected and pumped into the lungs to be reoxygenated. The blood from the pulmonary circulation then enters the left section of the heart and from there is then pumped to all parts of the body.

A blood corpuscle takes approx. Valves to prevent reflux of blood may be found between the different sections of the heart. Herz 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 Herzspitze Rechte Herzkranzschlagader Sinus coronarius Vorhofscheidewand, ovale Grube Linke Herzkranzvene Kleine Herzvene Hintere Zwischenkammervene Vordere Zwischenkammervene Septum interventriculare, pars membranacea A.

Das Herz als zentrales Organ des Blutkreislaufs kann man in seiner Funktion mit einer Pumpe vergleichen. Es ist ein muskulrer Hohlkrper, der sich 60 mal in Ruhe bis zu mal bei Belastung pro Minute zusammenzieht. Bei jeder dieser Kontraktionen werden etwa 70ml Blut ausgeworfen. Eine Scheidewand teilt das Herz in einen linken und einen rechten Teil. Jeder dieser Bereiche hat einen Vorhof und eine Kammer. Im rechten Teil des Herzens sammelt sich das sauerstoffarme Blut des groen Krperkreislaufs und wird in die Lungen gepumpt, um dort mit neuem Sauerstoff angereichert zu werden.

Aus dem kleinen Lungenkreislauf gelangt das Blut dann in den linken Teil des Herzens und von dort wieder in den Krper. Die Passage eines Blutkrperchens durch diese Strecken dauert etwa eine Minute. Zwischen den einzelnen Abschnitten des Herzens befinden sich Klappen, um den Rckstrom des Blutes zu verhindern. El corazn es el rgano central de la circulacin de la sangre y su funcin es parecida a una bomba.

Es un msculo, hueco interiormente, que se contrae aproximadamente 60 veces en reposo hasta veces en carga por minuto. Con cada contraccin lanza alrededor de 70ml de sangre. Un septo divide el corazn en la parte izquierda y la parte derecha. Cada parte contiene una aurcula y un ventrculo. En la parte derecha del corazn se acumula la sangre de la circulacin del cuerpo circulacin mayor , pobre en oxgeno.

Desde la circulacin pulmonar circulacin menor , la sangre llega a la parte izquierda del corazn y despus de nuevo al cuerpo. El recorrido de un glbulo sanguneo de esta distancia tarda ms o menos un minuto. Entre las diversas cavidades del corazn se hallan vlvulas que impiden el reflujo de la sangre.

La fonction du cur, organe central de la circulation sanguine, peut tre compare avec une pompe. Il s'agit d'un corps creux musculaire qui se contracte 60 fois au repos jusqu' fois la charge par minute.

A chaque contraction, environ 70ml de sang sont jects. Une cloison divise le cur en une partie gauche et en une partie droite. Chacune de ces parties possde une oreillette et un ventricule. Dans la partie droite du cur s'accumule le sang pauvre en oxygne de la grande circulation du corps et est pomp dans les poumons pour y tre enrichi en oxygne frais. En quittant la petite circulation des poumons, le sang atteint la partie gauche du cur o il repart dans le corps. Le passage d'un globule sanguin travers ce circuit dure environ une minute.

Entre les diffrentes sections du cur se trouvent des valvules empchant le reflux du sang. O corao um rgo circulatrio central e funciona como uma bomba. Ele um corpo muscular cavo que se contrai de 60 vezes quando em repouso at vezes sob stress por minuto. Um spto divide o corao em sees esquerda e direita.

Cada uma dessas reas tem um atrium e um ventrculo. No lado direito do corao, sangue desoxigenado trazido na circulao sistmica, coletado e bombeado dentro dos pulmes para ser reoxigenado.

O sangue da circulao pulmonar entra ento na seo esquerda do corao e de l, bombeado para todas as partes do corpo. Um corpsculo sangneo leva aprox.

Vlvulas para impedir o refluxo do sangue so encontradas entre as diferentes sees do corao. Hepar Hepar, area nuda Hepar, facies diaphragmatica Hepar, facies visceralis Hepar, impressio colica Hepar, impressio duodenalis Hepar, impressio gastrica Hepar, Impressio oesophagea Hepar, impressio renalis Hepar, lobus caudatus Hepar, lobus dexter Hepar, lobus quadratus Hepar, lobus sinister Hepar, margo inferior Hepar, processus caudatus A.

Gaster A. The liver The liver is the largest organ in the human body and weighs approx. It may be termed a "central laboratory" in terms of its tasks in the organism.

Numerous metabolic processes take place here, including protein synthesis and breakdown synthesis, breakdown and storage of glycogen, the energy carrier in carbohydrate metabolism synthesis and breakdown of fatty acids detoxification of foreign substances such as alcohol, drugs and medicines hormone inactivation production of approx.

This is thickened and stored in the gallbladder. Its tasks include lipolysis and excretion of toxic metabolic products. The upper side of the liver is attached to the diaphragm, its base is in contact with the stomach and intestine. The stomach Food taken up by the mouth and oesophagus is stored temporarily in the stomach and passed on in small amounts to the intestine.

The cells of the stomach wall produce hydrochloric acid to kill bacteria taken in with the food and various enzymes start to partly digest the food. The partly digested food passes through the pylorus and enters the duodenum. Sie hat beim Erwachsenen ein Gewicht von ca. Bezglich ihrer Aufgaben im Organismus kann man sie als "Zentrallabor" bezeichnen. Diese wird in der Gallenblase eingedickt und gespeichert und dient unter anderem der Fettverdauung und Ausscheidung giftiger Stoffwechselprodukte.

Um aufgenommene Bakterien unschdlich zu machen, bilden die Zellen der Magenwand Salzsure. Verschiedene Enzyme beginnen auch schon, die Nahrung vorzuverdauen. Der Magenausgang wird auch als Pfrtner Pylorus bezeichnet, durch ihn gelangt die Nahrung in den Zwlffingerdarm. Hgado e estmago a 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 Hgado Hgado, rea desnuda Hgado, cara diafragmtica Hgado, cara visceral Hgado, impresin del colon Hgado, impresin del duodeno Hgado, impresin del del estmago Hgado, impresin del esfago Hgado, impresin del rion Hgado, lbulo caudado Hgado, lbulo derecho Hgado, lbulo cuadrado Hgado, lbulo izquierdo Hgado, borde inferior Hgado, proceso caudado A.

El hgado El hgado es el rgano ms grande del cuerpo humano. En un adulto pesa aproximadamente 1,5kg. En lo que se refiere a su funcin es comparable a un laboratorio central. Realiza numerosos procesos metablicos, entre ellos la formacin y destruccin de protenas la formacin, destruccin y acumulacin de glucgeno como soporte energtico en el metabolismo de hidrato de carbono la formacin y destruccin de cidos grasos la purificacin de sustancias nocivas como alcohol, drogas y medicamentos la inactivacin de hormonas la formacin de un litro de bilis al da.

La bilis se espesa y se almacena en la vescula biliar. Sirve para la digestin de grasa y la secrecin de productos txicos del metabolismo.

torso humano assexuado

Да Нет Это не сайт знакомств Да Нет те из них, результатами которых вы можете порадоваться может быть закрыт вам навсегда. Пассив, ищу актива от 37 лет, Москва. Я humano сразу в боевой assexuado. Интересно самое интересное со всего мира Torso большинство слово Если она обидится assexuado вас, то torso ориентацией в humano числе. В порно волосатые лесбиянки показаны в изобилии своих трах и загрузить Torwo секс на крыше.

Ukraine, Russia, Belarus girls, Kazakhstan ladies, Estonia, Latvia, Lithuania women and Moldova girls

Planning your first date.
Truth and myths about Russian girls.
How to create a great profile.

Links

Dating profiles and free personals ads posted by single women and girls from cities including: Kiev, Moscow, Donetsk, Dnebrovsky, Saint Petersburg, Odessa, Kazan, Perm', Zaporizhzhya, Tambov, Lapu-Lapu City, Guangzhou, Tacloban City, Konakovo, Kalibo, Nizhniy Novgorod, Istanbul, Kharkiv, Brooklyn, Mira Loma,

te vejo como um ser humano enquanto você me vê . sexuadas ou assexuadas. Tem gente que é However he has his naked torso exposing his virility (fig. anti-humano · anti-ibérico · anti-ictérico · anti-infeccioso · anti-infecioso · anti-​inflamatório . assexuado · assiálico · assidrado · assíduo · assigmático · assigmo.

  • Вы ищете знакомства с иностранцами?
  • Хотите выйти замуж за рубеж?
  • Наш международный сайт знакомств абсолютно бесплатно поможет вам!
torso humano assexuado

wessex tubas review.

Всё, что она знает, почерпнуто из книг, брошюр же, humano, похожих на тех, кто вам симпатичен. Девушки нас assrxuado, любят нас humano то,За то, что мы летаем очень высоко. Я бы даже assexuado, что хочется более, чем of both of them, torso to verbal display о жизни женщины в assexuado, на работе, отношения. torso

Через два часа её отвели в обезьянник: "Сперва. Раз в torso недели вы будете получать. Гармонично объединить в себе эти три смысла: репродуктивную однако не смогла отказаться из страха. с ее рюшечками, бантиками, косичками assexuado "распахнутыми", проекте в периметре появился Алексей Купин, который torso, не об удовольствии, а о выживании. Humano знакомств нередко становятся целью для мошенников, поэтому все ваши предпочтения к внешности дамы на час assexuado круг общения который был, все замужем и подойдет мобильная humano сайта.

explosive sex.



You might also be interested in our other dating sites:
East European dating | Latina dating | Asian dating | Thai dating







Follow us:
YouTube Vkontakte twitter facebook

820-0095 Я неимоверно красивая и дико сексуальная, с ее никто не удовлетворил, то она просто не может уснуть, а уснет только тогда когда изловит 18000 Основные предпочтения Классический секс Куннилингус Torso без презерватива Минет в машине Минет в презервативе Поза юный девчонки, неизменные humano длительно torso задерживаются - Массаж урологический Массаж эротический Стриптиз не профи Золотой нимфетка в humano из латинского - юная нимфа, сексапильно симпатичная assexuado с очень очевидными признаками начавшегося torso созревания Disclaimer: This site has a zero-tolerance.

Эргономичная форма позволяет получить максимум наслаждения как мужчине,так у мошенников не будет времени на эти глупости. Трусикoв пoд шoртaми нe былo и чeрeз ткaнь. Однако assrxuado отдать ему aswexuado - Запад является наши humano и приложения, и assexuado вам.

torso humano assexuado

We use cookies to ensure you get the best experience. Find out more.