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Background: Nutrition in utero and infancy may causally affect health and mortality at old ages. Until now, very few studies have demonstrated long-run effects on survival of early life nutrition, mainly because of data limitations and confounding issues. Methods: This paper investigates whether exposure to nutritional shocks in early life negatively affects longevity at older ages, using unique individual data and exploiting the exogenous variation implied by natural experiments. In particular, early nutritional conditions are instrumented by exposure to the potato famine of unprecedented severity that the Dutch faced in 1846-47. The individual data are from the Historical Sample of the Netherlands and are augmented by food price data and macro-economic data. The sample used in the study covers lifetimes of 398 individuals exposed and 1,342 individuals not exposed to severe famine during gestation and/or till age three. We compare non-parametrically the total and residual lifetimes of treated and controls per gender. We also estimate survival models in which we control for other individual characteristics and additional (early life) determinants of mortality. Results: Men exposed to severe famine during pregnancy (at least four months) and directly after birth have a significant lower residual life expectancy at age 50 than others, but not at earlier ages. We could not demonstrate any long-run effects for men exposed at ages 0-2 and for women. Conclusion: To our knowledge, this is the first evidence suggesting long-run effects of early nutritional stresses on mortality at old ages for men. -- Nutrition in early life ; famine ; longevity ; natural experiments ; survival analysis ; mortality ; food intake ; developmental origins ; fetal origins

The artist's "4 New Paintings" continues – or perhaps expands – on a text she wrote in 2010, "I Choose Painting", in which she cautions us to look beyond rhetoric to what is still at stake: "a woman artist's right to decide the manner and means of her own representation". A potent moment in a world embroiled in complex, fractured and damaging identity politics. Thompson has not shied away from the post-menopausal female nude, nor the exploration of women's politics of work and leisure.

This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised. Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women's lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women's active role in the imaging process and the early instances of a pro-women ideology.

For some people, Indonesia during colonial period is often imagined as a beautiful, quiet, peaceful, and harmonious country. Such imagination, for example, resides in the concept of Mooi Indie paintings which emerged out of Indonesian history during the Dutch colonial period. However, for other people, such representations were opposed because they were merely romanticized representation by painters patronized by the Dutch colonials who wanted to romanticize the memory of their past in East Indies. In this article, we discussed how the concept of Mooi Indie appears in certain Indonesian landscape paintings, how the antagonism comes into sight, and how its politicality works.

War — Termination of — Factual Cessation of Hostilities — Absence of Formal Treaty of Peace — Termination of Second World War as Between Holland and Germany.

Oil magnate David Koch stepped down from the board of the American Museum of Natural History on December 9, 2015. His departure came only months after dozens of scientists signed a letter calling on the science museum sector to sever ties with the fossil fuel industry. Koch, who governs the sprawling Koch Industries alongside his brother Charles, had sat on the board for twenty-three years, and continues to maintain similar arrangements at the Smithsonian National Museum of Natural History in Washington, D.C., and the Metropolitan Museum of Art in New York. Over the years Koch has donated millions of dollars to these museums. Many argue that this has allowed Koch to influence their public programming while boosting the reputation of Koch Industries.