Populus sect. Aigeiros

Populus section Aigeiros is a section of three species in the genus Populus, the poplars. Like some other species in the genus Populus, they are known as cottonwoods; the species are native to North America and western Asia. In the past, as many as six species were recognized, but recent trends have been to accept just three species, treating the others as subspecies of P. deltoides. They are large, deciduous trees that are 50–80 feet tall, distinguished by thick fissured bark and triangular-based to diamond-shaped leaves that are green on both sides and without any obvious balsam scent in spring. An important feature of the leaves is the petiole, flattened sideways so that the leaves have a particular type of movement in the wind. Male and female flowers are in separate catkins; the seeds are borne on cottony structures that allow them to be blown long distances in the air before settling to ground. The cottonwoods are exceptionally tolerant of flooding and flood deposits filling around the trunk.

Although each of the three cottonwood species has a different leaf pattern, they all have the same general diamond leaf shape. Eastern cottonwood is one of the largest North American hardwood trees, although the wood is rather soft, it is a riparian zone tree. It occurs throughout the eastern United States, extreme southern Canada, northern Mexico; the leaves are alternate and simple, with coarsely toothed edges, subcordate at the base. The leaf shape is triangular, hence the species name, deltoides, their winter buds are enrobed in a protective, fragrant resin that coats young leaves when they unfurl from the bud. In the typical subspecies P. d. deltoides, the leaves are broad and triangular, 7–15 cm across at the base. Further west, the subspecies P. d. monilifera has somewhat narrower leaves, 5–10 cm wide at the base. This is the state tree of Nebraska and Kansas. In West Texas, New Mexico, Colorado, the subspecies P. d. wislizeni occurs. Fremont's cottonwood is native to western Mexico. In the United States, the species can be found in Arizona, Colorado, Nevada, New Mexico and Utah.

In Mexico, it can be found in the states of Baja California, Baja California Sur, Chihuahua, Nuevo León, Mexico State, Puebla. It differs from the eastern cottonwood in the leaves having fewer, larger serrations on the edge, small differences in the flower and seed pod structure; some taxonomists considered P. fremontii to be a subspecies of P. deltoides. Black poplar is native to Europe and Western Asia, is distinct in its much smaller leaves, 5–11 cm across, with a more rhombic shape. Cottonwoods are grown for timber production along wet river banks, where their exceptional growth rate provides a large crop of wood within just 10–30 years; the wood is coarse and of low value, used for pallet boxes, shipping crates, similar purposes where a cheap but strong enough wood is suitable. They are widely grown as screens and shelterbelts. Many of the cottonwoods grown commercially are the hybrid of eastern cottonwood and black poplar, Populus × canadensis. Cottonwood bark is a favorite medium for artisans.

The bark, harvested in the fall after a tree's death, is very soft and easy to carve. Cottonwood is one of the poorest wood fuels, it splits poorly, because it is fibrous. It produces a low level of energy per unit of volume of wood. Cottonwoods serve as food for the caterpillars of several Lepidoptera. Minnesota DNR big tree list; the largest tree by circumference in Minnesota is a Populus deltoides at 394 inches measured at the trunk 4 and 1/2 feet above the ground. This tree is 106 feet tall. Monster Ohio Cottowood - 528 points in 2005 on YouTube

Wreath cent

The Wreath cent was an American large cent. It was the second design type, following the Chain cent in 1793, it was produced only during that year. The obverse design consisted of a stylized Liberty head with flowing hair; the inscription "LIBERTY" appeared above the portrait. Below it was the date; the design of the Liberty head was modified somewhat from that of the Chain cent to address public criticism. The reverse's central design figure, for which the coin is named, was a wreath; the words "ONE CENT" appeared within the wreath, the corresponding fraction "1/100" appeared beneath it. Along the outer edge was inscribed "UNITED STATES OF AMERICA". A decorative beaded border was added along the rim. 63,353 Wreath cents were struck. Early specimens featured a stylized "vine/bars" design on the edges of the planchet, identical to that of the earlier Chain cent. On, this was changed to a lettered edge reading "ONE HUNDRED FOR A DOLLAR". Early American copper collectors categorize the coins still further into thirteen different varieties under the Sheldon system.

Most of these variations entail minor changes, require careful examination to discern. One variety, however, is far more recognizable: the "Strawberry Leaf". On these strikings, the trefoil sprig above the date took the form of a strawberry plant. Only four such specimens are known, all are circulated; the finest known Strawberry Leaf cent sold at auction for $414,000 in November 2004. As the second of three different large cent types struck in 1793, the Wreath cent is desired by both large cent collectors and type collectors alike, responsible for its continued high demand; the 1793 Wreath Cent is featured in the 2014 novel The Automation

Elba Rivera

Elba Rivera is a Salvadorian-born artist who concentrates on realism and abstract expressionism. Rivera focuses on uncovering subjects related with human's dismissal for nature with surrealist and abstract expressionist techniques, she is best known for her participation in San Francisco community mural art movements and for the art piece, Family Expectations, which depicts an intricate composition of several women whose appearances indicates family union. Rivera was born in 1947 in El Salvador and grew up in the Mission District of San Francisco, California, she moved to the Mission District during 1959, she was one of the painters the Si Se Puede wall painting in Cesar E. Chavez Elementary School, the elementary school she attended; the Si Se Puede wall mural portrays Cesar Chavez, Dolores Huerta, farmworker figures and is adorning the playground of the elementary school. During her residence at San Francisco, she married Brooke Oliver, a lawyer who serves on the Latino Community Advisory Board and the Calle 24 Council.

Together, they created the Que Viva! Camp at Burning Man. Since her produced artwork has been shown in shows such as the DeYoung, Mission Cultural Center for Latino Arts, Precita Eyes, her public and private exhibitions, she works with her wife at 50 Balmy Law, a firm that focuses on providing inventive, lawful solutions and support in workmanship, copyrights and exposure rights law. On Balmy Alley, one of her murals called Tribute to Mujeres Muralistas, is embellished right across from her office. Rivera attended Cesar E. Chavez Elementary School in San Francisco for primary education, she attended Laney College as an art major. San Francisco Mural Movement Rivera participated in the Mission District community mural movement that highlighted the home, heritage and community of Mexican culture in the San Francisco area, she assisted muralist Susan Cervantes, a 47-year veteran artist, one of the leaders of the mural movement and joined the Precita Eyes Muralists group, founded by Cervantes and her late husband, helped paint murals on schools, organizations, private living arrangements, more.

Through collaborative murals, Precita Eyes' murals address issues of class endeavors, prejudice and celebrate culture, unity and nature. Murals She Had Partaken In 1994 - Women's Building in San Francisco, California 1995 - Keep Our Roots Alive in Cleveland Elementary School in San Francisco, California 1995 - Balmy Alley Restorations, Balmy Alley in San Francisco, California 1995 - Si Se Puede Mural Restoration, Cesar Chavez Elementary School in San Francisco, California 1998 - Hope for the World Cure on backside of the Bagdad Cafe, corner of 16th and Market in San Francisco, California 2005 - Tribute to Mujeres Muralistas and Future Generations, Precita Eyes Mural Workshop in San Francisco, CaliforniaLa Llorona Project Rivera participated in the La Llorona Project, lead by Juana Alicia, that came about in Spring of 2004 at 24th Streets in San Francisco, California; the project took place focusing on women and globalization with financial sponsorship. Juana Alicia wanted to highlight the issues underlying the conflicts of women around the world with the subject being La Llorona, foregrounding the exemplary Mexican legend of the lady who killed her children by drowning them in the river and is cursed to look for them.

The blue mural has other subjects such as women in Bolivia, at the U. S. border. These women are featured in the mural for the challenges that they faced, such as water rights and unsolved homicides of women in Juarez; the La Llorona mural is located near Juana Alicia's Las Lechugeueras known as The Women Lettuce Workers, which portrays farmworkers' rights for better working conditions and pesticide harming in California. The mural was taken down due to the water damage done to the wall with a 90-day warning, instead, Juana Alicia created the La Llorona mural to take its place. Family ExpectationsThis artwork, created in 1993, shows figures of women whose appearances suggest family unification with a traditional and realistic composition; the women are wearing distinctive outfits with a vivid color scheme, representing different generations. The women are not smiling in the artwork except for one woman and her baby that are within a rectangular shape in the artwork; the intent was to emphasize on the freedom of interpretation.

The medium of this artwork is oil on canvas, the canvas size is 3 feet and 2 inches x 2 feet and 6 inches. Oil Spill This artwork, created in 1994, is a surrealist painting that features a dying bird symbolizing negligent homicide; the dying bird has a human head. With this artwork, Rivera wanted to expose the brutality to animal life and highlight mankind's apathy towards animals; the dark background highlights the misery of the occasion and makes a sharp differentiation between the winged animal and its natural surroundings. There is a black swan in the environment, covered in oil that symbolizes humanity’s negligence for animals. Eye to We This artwork, created in 1994, is a surrealist painting that portrays an otherworldly presentation that consists of naked structures skipping about underwater; the naked structures have no heads, they are swimming in the midst of a massive figure that has a single colossal eye. The massive figure with the eye is not peering at the headless naked structures which are swimming around but at the viewers themselves.

This artwork consists of overlapping headless naked figures that depict female bodies and the blue water environment harmonizes with the figures. The medium of this artwork is oil on canvas, the canvas size is 3 feet and 2 ¼ inches x 4 feet. Oakland Bay B