identifier
stringlengths 1
43
| dataset
stringclasses 3
values | question
stringclasses 4
values | rank
int64 0
99
| url
stringlengths 14
1.88k
| read_more_link
stringclasses 1
value | language
stringclasses 1
value | title
stringlengths 0
200
| top_image
stringlengths 0
125k
| meta_img
stringlengths 0
125k
| images
listlengths 0
18.2k
| movies
listlengths 0
484
| keywords
listlengths 0
0
| meta_keywords
listlengths 1
48.5k
| tags
null | authors
listlengths 0
10
| publish_date
stringlengths 19
32
⌀ | summary
stringclasses 1
value | meta_description
stringlengths 0
258k
| meta_lang
stringclasses 68
values | meta_favicon
stringlengths 0
20.2k
| meta_site_name
stringlengths 0
641
| canonical_link
stringlengths 9
1.88k
⌀ | text
stringlengths 0
100k
|
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
9034
|
dbpedia
|
0
| 53
|
https://www.tevausa.com/contact-us/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null | null | ||||||||||
9034
|
dbpedia
|
0
| 90
|
https://www.broadcom.com/company/contact
|
en
|
Contact Us
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Broadcom | Contact Us
|
en
|
/favicon.png
|
https://www.broadcom.com/company/contact
| ||||||
9034
|
dbpedia
|
2
| 66
|
https://spectrumculture.com/2019/10/16/telefon-tel-aviv-dreams-are-not-enough-review/
|
en
|
Telefon Tel Aviv: Dreams Are Not Enough
|
[
"https://spectrumculture.com/wp-content/uploads/2017/05/Spectrum-Culture-Logo3.png",
"https://spectrumculture.com/wp-content/uploads/userphoto/125.jpg",
"https://spectrumculture.com/wp-content/uploads/2019/10/oregon-music-present-ara.jpg",
"https://spectrumculture.com/wp-content/uploads/2019/10/dannybrown-whaiamsayin.jpg",
"https://spectrumculture.com/wp-content/uploads/2019/10/lullabies-to-paralyze.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/BTSYLT-320x220.png",
"https://spectrumculture.com/wp-content/uploads/2024/08/john-cale-ship-of-fools-320x220.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/eliza-delusionals-garden-320x220.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/jefferson-airplane-woodstock-320x220.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/ween-chocolate-and-cheese-cover-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/minwhi-lee-hometown-to-come-cover-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/sugarlandexpress-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/spider-man2-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/eno-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/john-cale-ship-of-fools-320x220.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/eliza-delusionals-garden-104x74.jpg",
"https://spectrumculture.com/wp-content/uploads/2024/08/skincare-104x74.jpg"
] |
[
"https://www.youtube.com/embed/KYKBmokneWw"
] |
[] |
[
""
] | null |
[
"Nathan Stevens"
] |
2019-10-16T00:00:00
|
Telefon Tel Aviv’s brutish, dark and lonely return.
|
en
|
Spectrum Culture
|
https://spectrumculture.com/2019/10/16/telefon-tel-aviv-dreams-are-not-enough-review/
|
How do you go on? That’s been the question attached to every murmuring from Telefon Tel Aviv for the last decade. In 2009, the Chicago-based duo had just released Immolate Yourself, their third record that decade, another exciting, adventurous foray into downtempo. They’d cemented themselves as, at best, an American amalgam of Portishead instrumentals and Four Tet wonkiness. But two days after Immolate Yourself debuted, founding member Charles Cooper died.
In the 10 years since, Joshua Eustis has kept himself busy. He released music under a number of monikers and toured as a member of Nine Inch Nails. But he’s been circling back toward Telefon Tel Aviv for the last few years. And finally, we have Dreams Are Not Enough, Telefon Tel Aviv’s brutish, dark and lonely return.
Dreams Are Not Enough is more brooding than any Telefon album before it, and more pondering as well. The titles, spliced together, read as short form prose, mingling general thoughts on mortality and Eustis’ own grappling with Cooper’s absence. It is a record of grief, and even without background knowledge of the horror that informs the album, Dreams Are Not Enough rings out like a wake. The sparkling synths of “a younger version of myself,” shimmer as the album’s most pop moment and still sink into the murk of ghostly ambiance. The drums here rattle upward, like they were being sucked through straws. It is an uncanny experience, especially with Eustis cooing in the background, his words obscured.
Dreams Are Not Enough is an album of bursts. Slow boils and simmers are often interrupted by long stretches of silence or white noise. Focal point “arms aloft,” has a rippling melody line, deeply textured so it becomes the base rhythm along with the kick drum. It dances between dirge and rave, and closes with a long sigh of ambiance, unable, or unwilling, to keep its energy afloat. “mouth agape,” fizzes like Tim Hecker’s Radio Amor, filled with pools of warm synths and blindingly bright passages of noise that overwhelm everything else. It pulls a fake ending twice, tearing pauses asunder with great eruptions of noise that are at once beautiful and entirely too much.
And there are moments where the terror can’t be contained. “not seeing,” glitches like an askew N64 carriage, old 16-bit sounds crushed and compressed into the pulse of the song before a single clap reverberates like an earthquake and mad, near Theremin-like solo wavers into view. Eustis’ voice comes back in as the outburst disappears, sounding like it’s coming from a distant room, a half-remembered song just floating into ear shot.
The closing duo have the closest connection to old Telefon work, with “not breathing,” serving as a smashing bit of hardcore and “still as stone in a watery fane.” a stretchy piece of ambience. Taken together, they close Dreams Are Not Enough with the steps of grief. “not breathing,” the uncomprehending rage, “still as stone in a watery fane.” an unsure silence. Where Eustis goes from here is unknown, but he’s made a collection of the feelings of limbo and a fitting end to Telefon.
|
|||||
9034
|
dbpedia
|
0
| 3
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
en
|
Ten Years After the Death of Its Co-Founding Member, Telefon Tel Aviv Returns With a Haunting New Album
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.billboard.com/wp-content/uploads/media/Telefon-Tel-Aviv-pr-2019-billboard-1548.jpg?w=942&h=623&crop=1",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Joshua Glazer"
] |
2019-09-27T14:10:05+00:00
|
The 'unintentional solo act' returns with 'Dreams Are Not Enough,' out today via Ghostly International.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
The announcement came like everything else these days, on Twitter.
Amidst the endless stream of celebrity hot takes, memes and existential dread, Josh Eustis typed, “I’m beyond relieved to be able to share this news, finally.” The news in question was for Dreams Are Not Enough, the first Telefon Tel Aviv album in a decade and the first since the death of Charlie Cooper, who co-founded TTA with Eustis in 1999.
Back then, TTA was a duo comprised of Eustis and Charlie Cooper, formed in New Orleans in 1999 before moving north to Chicago to be in the midst of the city’s fecund independent music community. In 2001, they released Fahrenheit Fair Enough on Hefty Records, a label run by John Hughes III, descendant of the ‘80s teen movie legend. The music, a melancholic blend of glitchy forward-moving rhythms and satisfying synth and guitar melodies, announced TTA as part of the broader musical conversation happening between local bands like Tortoise on post rock institution Thrill Jockey Records and a like-minded U.K. scene anchored by Warp Records and newer artists including Four Tet and M83.
Thus began a steady ascent that saw two more critically acclaimed and audience adored albums, 2004’s A Map of What Is Effortless and 2009’s Immolate Yourself. The latter album signified a shift in sound from the delicate laptop electronica of the first two records to a more emotive song-driven style buoyed by large washes of shimmering polyphonic synths. It was released on German techno powerhouse BPitch Control and promised a new level of popularity for Eustis and Cooper. But the promise was short-lived. A mere two days after Immolate’s release, Cooper died of an accidental overdose of sleeping pills and alcohol.
Trending on Billboard
Ten years later, Eustis is still coming to terms with Cooper’s death, but issuing the first Telefon Tel Aviv album since the tragedy, Dreams Are Not Enough, marks a watershed moment for the unintentional solo act returning to the project that most had assumed was permanently defunct. First, there’s the theme of the album, out today (Sept. 27) via Ghostly International, based on a dream that haunted Eustis in childhood and reappeared in his psyche following Cooper’s passing.
“I’ve known the song titles for almost a decade now. Since a year or two after Charlie died,” Eustis reveals before attempting to explain the source of a cycle of song named “i dream of it often;,” “a younger version of myself,” “standing at the bottom of the ocean;” “arms aloft,” “mouth agape,” “eyes glaring,” “not seeing,” not breathing,” and finally, “still as stone in a watery fane.” Listed top to bottom on the front of the record sleeve, these titles form a harrowing poem for listeners to digest before they even press play. Once they do, the music is as doleful and unnerving as the stanzas suggest.
Unpacking the poetic lifeblood of Dreams requires some explanation. To start, there’s an actual incident. A childhood vacation on the Gulf Coast when 8-year-old Eustis swam too far from shore — in pursuit of a pod of dolphins, as he recalls — and came to the shelf where the floor of the ocean suddenly drops off.
“I just saw blackness as far as the eye can see, all the way down. You’re looking into the void,” he recounts. “I freaked out and swam back to shore and wouldn’t get back in the water.”
That terrifying event led to the recurring nightmare where Eustis would see himself submerged under the waves, “It’s me again, the little red bathing suit, little boy Joshie looking down over the shelf, and I can see that version of myself standing on the bottom of the ocean.” One hardly needs a degree in psychology to understand how the loss of his friend might have stirred up other traumas from Eustis’ past.
Fortunately, when the dream revisited the now-adult musician, he jotted down his impressions after awakening from the nightmare. “So many of my ideas come from being in this liminal state between sleep and wakefulness,” Eustis explains. “My dream journal is essential for me to function as an artist.”
Yet inspiration is only one ingredient for making a record like Dreams. Others include technical innovation, which Eustis pursued for more than two years by learning Max MSP, a software system that allows for the creation of entirely new musical tools deployed on Dreams.
Then there is time and money, both of which come in short supply for an independent artist making his way in the current music business climate. In the years following Cooper’s death, Eustis moved to Los Angeles and established himself as an able sideman, doing time on tour with industrial rock legends Nine Inch Nails and appearing on records by Tool frontman Maynard James Keenan’s A Perfect Circle and Puscifer projects.
More recently, Eustis has leveled up his studio hustle, at various times mixing, mastering and engineering music for goth-loving techno producers Vatican Shadow and Silent Servant, as well as industrial sensations Drab Majesty and Orphx. There has also been multiple albums as Sons of Magdalene (a solo endeavor), Second Woman (a collaboration with Turk Dietrich) and The Black Queen (a trio including former Dillenger Escape Plan frontman Greg Puciato and NIN technician Steven Alexander Ryan). Through it all, new Telefon Tel Aviv was still in the back of Eustis’ mind.
“I had been iterating on Telefon stuff the whole time, even though I thought I wasn’t ever going to do it again,” Eustis says. “I’d get three or four things kind of finished and later think ‘This is all terrible!’ and just scrap it and start over.”
A dozen shows opening for Moderat in 2016 reactivated TTA as a touring concern, slowly acclimating Eustis to the idea of a new record. But it was an intervention by Sam Valenti, the owner of the Ghostly International label that is putting out Dreams as part of its 20th Anniversary year, that forced his hand. “Sam was like, ‘We’ve been talking about this for five years. Are you going to do this? Are you not going to do this? Do you need an advance to block out time so that you can not worry about other people’s music and just work on your own?’”
Ghostly bought Eustis the month or so he needed this spring to finish the album. He’s happy to report that it came together both quickly and painlessly once all of the obstacles were removed, but can’t help but reveal that a severe depression followed its completion. “With Charlie, we were usually both despondent while working on a record,” he chuckles. “So this was different.”
Nevertheless, Eustis is excited to have Dreams out in the world and is preparing to tour behind the record. He speaks fondly of the small but dedicated fanbase he can count on to attend his shows and purchase Ghostly’s gorgeous, gold-splattered vinyl pressing. But mostly, Eustis is left to wonder what might have happened had Cooper lived. Where might their career have taken them in an alternate reality where the lives of promising young people aren’t cut short, leaving others to pick up the pieces?
“That’s the thing that sticks in my craw the most,” he admits before accepting the situation for what must be the thousandth time. “Then again, the music I’m making is weird and challenging and probably would never have found a much wider audience. And I’m fine with that.”
|
|||||
9034
|
dbpedia
|
0
| 28
|
https://www.gtlaw.com/en/locations/tel-aviv
|
en
|
Greenberg Traurig LLP
|
https://www.gtlaw.com/favicon.ico
|
https://www.gtlaw.com/favicon.ico
|
[
"https://www.gtlaw.com/-/media/images/global-sitewide-images/logo.svg?rev=d07323a607914ace919ae5feec7c119b",
"https://www.gtlaw.com/-/media/images/social/connector/blog.png?h=24&w=24&rev=653c2de9056c46c4a00835dc965efe82&sc_lang=en&hash=8DFB5CA1AC000DE611E0EDEF953AAC87",
"https://www.gtlaw.com/-/media/images/footer-images/linkedin.png?rev=5087960573454535bdcf546b4468ec86&sc_lang=en",
"https://www.gtlaw.com/-/media/images/footer-images/facebook.png?rev=707c6487ed3a485ba6fd6221fdd9173e&sc_lang=en",
"https://www.gtlaw.com/-/media/images/footer-images/twitter.png?rev=f2dc77e9d4d74632a0ffab2e05136c85&sc_lang=en",
"https://www.gtlaw.com/-/media/images/footer-images/instagram.png?rev=afb3473661d540238e89b1e68caa9c91&sc_lang=en"
] |
[] |
[] |
[
""
] | null |
[] | null |
Greenberg Traurig’s unique Tel Aviv office provides legal counsel to a global client base regarding opportunities in Israel and around the world. We offer a multi-disciplinary, integrated team of professionals to assist with a range of corporate and commercial law issues. Read more here.
|
en
|
/favicon.ico
|
https://www.gtlaw.com/en/locations/tel-aviv
|
Greenberg Traurig’s presence in Israel is unique. We are the only major international law firm with a multidisciplinary registered office in Israel, one of the world’s leading innovation and business capitals. During these unprecedented times, we are proud to have a team of dedicated on-the-ground professionals to assist clients in navigating the complex waters of doing business worldwide, including newly available opportunities for Israelis in business capitals of the Arab world (read more about our Tel Aviv office in Arabic).
The Tel Aviv office serves two primary functions. Our office acts as a gateway for Israeli businesses and entrepreneurs seeking legal counsel with opportunities in the Americas, Europe, Asia, the Middle East, and worldwide. Our clients have access to attorneys across GT's 47 locations worldwide, supported by local relationships with leading firms in specific locations where we do not have a physical presence. Those in our Tel Aviv office have intimate, on-the-ground knowledge of the legal aspect of doing business in Israel, and have experience assisting clients with legal matters related to opportunities in Israel.
We are proud that our Israel Practice has been actively serving clients for 20 years and includes more than 100 of our attorneys from other offices worldwide.
Attorneys resident in our Tel Aviv office work hand-in-hand with our global Israel Practice members, providing clients access to a network of professionals with the legal experience, business acumen, technical knowledge, political experience, language capabilities, and cultural understanding needed for advising on the legal aspects of doing business in and with Israel.
We have a firm grasp of the legal challenges facing Israel-related businesses and offer a multidisciplinary, integrated team of professionals to assist clients with a wide range of corporate and commercial law issues including:
Mergers & Acquisitions
Labor & Employment
Private Equity & Venture Capital
UK, Dutch, German, Italy, and Poland Matters
Joint Ventures & Strategic Partnerships
Patents, Trademarks, & Copyrights
Capital Markets
Litigation and Investigations
International Real Estate
White Collar Crime
Technology, Licensing, & Cyber
Compliance
Asia, Europe, & Latin America Practices
International Tax
Public & Private Offerings
Global Trade
SEC Compliance
Governmental Affairs
Greenberg Traurig’s Tel Aviv office is proud to be the first and only office of an international law firm in Israel recognized by Israeli legal directories. BDiCode recognized the office for its International Commercial (2016-2020), Real Estate (2019-2020) Mergers & Acquisitions (2016-2020), and Labor & Employment capabilities (2020). Dun’s 100 has acknowledged the office as a Prominent Leader under the International Commercial practice area for six consecutive years (2016-2021), in addition to recognizing our M&A capabilities (2021).
Aliya Task Force
Greenberg Traurig Tel Aviv - Bridging Israel and the World
Greenberg Traurig has a longstanding commitment to Israel. In addition to being the only major international law firm with a multidisciplinary registered office in Israel, collectively we offer more than 20 years of on-the-ground experience representing local and international businesses. We understand the meaning of making Aliya.
Our dedicated Aliya Taskforce, spearheaded by Tel Aviv Managing Shareholder Joey Shabot includes professionals who have chosen to move to Israel and build their lives here with their families. We understand the complexities that high-net-worth individuals face when planning their Aliya, and we offer the multidisciplinary legal support they may need.
The Israel Practice and Tel Aviv office maintain the GT Israel Blog, available here
Contact Us
For more information about our Tel Aviv office, please feel free to reach out to our Tel Aviv office contacts. For information about our office holiday schedule, please click here.
Our Clients
We regularly work with multinational corporations, private companies, financial institutions, venture funds, family offices, and later-stage startups across a variety of industries. We also frequently work with numerous local Israeli law firms to provide them with assistance with respect to their Israeli clients’ global needs outside of Israel, in the Americas, Europe, and Asia.
|
|||
9034
|
dbpedia
|
3
| 84
|
https://app.discotech.me/articles/best-telefon-tel-aviv-songs-of-all-time-top-tracks
|
en
|
Best Telefon Tel Aviv Songs of All Time - Top 10 Tracks
|
[
"https://app.discotech.me/assets/images/discotech-blue-logo.png",
"https://app.discotech.me/assets/images/discotech-white-logo.png",
"https://app.discotech.me/assets/icons/main-search.svg",
"https://app.discotech.me/assets/icons/user-profile.svg",
"https://d3nxoulyw7bc8u.cloudfront.net/images/artists/10832/cee27669-7f1b-4bdc-b13a-ad9d1e16ea5b.jpeg?auto=format&fit=fill&fill=blur&w=1200&h=640&q=100",
"https://app.discotech.me/assets/icons/heart-outline.svg",
"https://app.discotech.me/assets/icons/share.svg",
"https://d3nxoulyw7bc8u.cloudfront.net/images/artists/10832/cee27669-7f1b-4bdc-b13a-ad9d1e16ea5b.jpeg?auto=format&fit=fill&fill=blur&w=1000&h=375",
"https://app.discotech.me/assets/images/discotech-white-logo.png",
"https://app.discotech.me/assets/icons/search.svg",
"https://app.discotech.me/assets/icons/share.svg",
"https://app.discotech.me/assets/icons/footer-facebook.svg",
"https://app.discotech.me/assets/icons/footer-twitter.svg",
"https://app.discotech.me/assets/icons/footer-insta.svg",
"https://app.discotech.me/assets/icons/home-icon.svg",
"https://app.discotech.me/assets/icons/events-icon.svg",
"https://app.discotech.me/assets/icons/you-icon.svg",
"https://app.discotech.me/assets/icons/venues-icon.svg",
"https://app.discotech.me/assets/icons/festivals-icon.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Best Telefon Tel Aviv Songs of All Time - Top 10 Tracks
|
en
|
/favicon.ico
|
Discotech
|
https://app.discotech.me/articles/best-telefon-tel-aviv-songs-of-all-time-top-tracks
|
Telefon Tel Aviv Details
One great thing about artists – real ones, not pop frauds - is their inherent desire to escape thesafety of established territories and seek out the uncharted. Map of What is Effortless, thesecond album by TELEFON TEL AVIV is a prime example of this. Two musicians locked upinside a computer labyrinth, looking for a new musical language to access their pleasure and pain, as Marvin Gaye and Björk records rock that labyrinth's PA. In creating their album, multiinstrumentalists
JOSHUA EUSTIS and CHARLIE COOPER, both 26, emptied their tanks running
that muse down. The result is one of the most surprising electronic records in recent memory.
Wanna call it Laptop Soul? Well, go right ahead.
Better yet: How about "gnarly hot bedroom R&B kind-of stuff, on a super-dark, dingy tip," which is what Eustis, the music school–educated, bedroom beats wiz calls it. The new album arrives on the heels of their playful 2001 debut Fahrenheit Fair Enough, and acts as a marker of their substantial artistic growth, showing just how far the two had traveled since their mid-'90s days as harbingers of thrash in the New Orleans industrial and punk circles.
Joshua Eustis and Charlie Cooper have known each other since high school, and became acquaintances in the Big Easy hardcore scene. According to Eustis, Cooper was the scene's "mover and shaker," fronting one of the city's most popular punk bands, while Josh was a selfdescribed "bedroom dork with a keyboard." Nevertheless, the two convened in '99, when Cooper began exploring electronics, and Eustis, now bored with his own set up, found the opportunity of
having a partner hard to pass up. "Charlie approached me, saying ‘let's crawl inside these tracks, crush our gear and see what comes out.'"
Demos resulted. Chicago-based HEFTY Records got excited. Simultaneously, Danny Lohner of Nine Inch Nails, had played Eustis and Cooper's tape for Trent Reznor. The same week, Eustis and Cooper found themselves in a New Orleans studio working on music for NIN's Things Fall Apart remix project. Taking on the surrealistically named Telefon Tel Aviv -- a "half-awake, halfasleep
play on words" Josh came up with one morning – the duo signed with Hefty. (Together and separately, Eustis and Cooper have since worked on remixes for A Perfect Circle and Eminem, collaborated with Chi-town electronic pop figures L'Altra and Pulse Programming, and worked on the scores of films such New Port South and Underworld).
Their first release with Hefty was Fahrenheit Fair Enough, an impressionist travelogue that combined techno's scientific melodicism with a mixture of jazz-head instrumentation and digital manipulations. The songs drifted towards a luminescent blissful sky, not sure where (or if) they'll be coming down.
Having made the move out of New Orleans to Chicago in 2002, TTA decided to approach the new record by, in Cooper's words, "building a skeleton in our minds of what we want." Listening to classic records they both admired—Gaye's Here My Dear, Prince's 1999, NIN's The Downward Spiral, Curtis Mayfield's Sweet Exorcist -- helped them come up with a game-plan for an album that "implemented electronics, song-writing, live playing, and a huge production, [but was] also a
pop record.” So for the next year, through a brutal winter that turned their basement apartment into a dungeon, Eustis and Cooper pursued their vision with a single-mindedness that bordered on self-destructive. "We were completely disconnected," says Cooper of the period. "At one point, we we're ready to pack it all up, and go home to New Orleans, and get our lives back in order so we could finish [the album] properly. Our lives were completely fucked, because we had
totally ignored them." Adds Eustis, "It was malignant by that point.” Of course, they do say the darkest hour is right before the dawn for a reason. And that one's soul and blues emerge during the moment in between.
Map of What is Effortless paints the most natural colors possible. Like all good adventures, this one’s diverse, from the Ron Isley-like vocals of L.A. songwriter Damon Aaron and the detached chanteuse musings of L'Altra vocalist Lindsay Anderson, to the juxtaposition of the Loyola University Chamber Orchestra with synthetic percussion. The title track, a gorgeous ambient orchestral piece, slips into a sexy electronic soul tune, "Nothing Is Worth Losing That," whose
lyrics contemplate the dark place Eustis and Cooper were in at the time of recording. Heavy shit for a couple of laptop R&B fanatics from the Bayou. Lightness comes in the form of "My Week Beats Your Year," a bit of Princely robo-funk adorned with Anderson's spoken-word brag, while "I Lied," anchored by Aaron’s vocal about long-developing situations, sounds like a Dirty South Morr Music remix. "What It Is Without The Hand That Wields It" shows them in a dark atmospheric mode, aware that a move to Chicago brings them to the spiritual home of industrial music.
If anything, the album makes it clear that the duo’s shift from the lithe sounds of their earlier efforts was a natural expansion of their own artistic boundaries. Map of What is Effortless is Telefon Tel Aviv’s sketch of branching out from what they knew and cornering their muse with gorgeous results. Great art indeed.
|
||||
9034
|
dbpedia
|
2
| 70
|
https://jfrog.com/contact-us/
|
en
|
Contact us
|
[
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2024/07/23170348/homepage-banner-desktop-bck.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2024/07/23170400/homepage-banner-mobile-bck.jpg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2024/07/23170354/homepage-banner-desktop-txt.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2024/07/23170357/homepage-banner-mobile-txt.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2021/12/29113553/jfrog-logo-2022.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2021/12/29113553/jfrog-logo-2022.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132304/jfrog-artifactory.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132400/jfrog-pipeline.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132437/jfrog-distribution.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/09231026/icon-jfrog-connect.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132519/jfrog-curation.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132556/jfrog-xray.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132556/jfrog-xray.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/25152626/qwak-icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132304/jfrog-artifactory.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132400/jfrog-pipeline.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132437/jfrog-distribution.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/09231026/icon-jfrog-connect.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132519/jfrog-curation.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132556/jfrog-xray.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/22132556/jfrog-xray.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2017/08/25152626/qwak-icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113704/Tel-Aviv.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113704/Tel-Aviv.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113707/sunnyvale.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113707/sunnyvale.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/28091442/Tokyo-Icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/28091442/Tokyo-Icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113704/Tel-Aviv.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113704/Tel-Aviv.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113658/Kirkland.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113658/Kirkland.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113652/Beijing.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113652/Beijing.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113700/toulouse.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113700/toulouse.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113655/atlanta.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113655/atlanta.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113648/bangalore.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2022/07/19113648/bangalore.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2023/11/26152941/Madrid.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2023/11/26152941/Madrid.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2023/10/24105836/London-Office.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2023/10/24105836/London-Office.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/12/14151329/lang-world-icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/12/14151329/lang-world-icon.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2021/12/29113500/chevron_down.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2021/12/29113500/chevron_down.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/12/14151326/lang-checkmark.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/12/14151326/lang-checkmark.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2021/12/29113553/jfrog-logo-2022.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/12/20130026/close.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/12/20130026/close.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/10/20130240/frog-hand-green.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/10/20130240/frog-hand-green.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/12/20130026/close.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/01/20125954/flag_us.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/01/20125954/flag_us.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/12/20130011/jfrog-logo.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2019/12/20130011/jfrog-logo.svg",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/01/20125954/flag_chinese.png",
"https://speedmedia.jfrog.com/08612fe1-9391-4cf3-ac1a-6dd49c36b276/media.jfrog.com/wp-content/uploads/2020/01/20125954/flag_chinese.png"
] |
[] |
[] |
[
""
] | null |
[] |
2017-08-30T09:48:02+00:00
|
Contact us with any enquiries you have about JFrog products, sales and billing, media and community engagement or anything else. We are here for you.
|
en
|
JFrog
|
https://jfrog.com/contact-us/
|
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Customer Support team who will be in touch with you shortly.
A request will be sent to our Channel Partnership team who will be in touch with you shortly.
Not a partner? Become a JFrog Channel Partner!
Already a partner? Please use the Partner Portal to register your deal!
A request will be sent to our Channel Partnership team who will be in touch with you shortly.
Not a partner? Become a JFrog Channel Partner!
Already a partner? Please use the Partner Portal to register your deal!
|
|||||
9034
|
dbpedia
|
0
| 86
|
https://www.quinnemanuel.com/offices/
|
en
|
Quinn Emanuel Urquhart & Sullivan, LLP
|
[
"https://www.quinnemanuel.com/media/phyidkre/qe-logo.svg",
"https://www.quinnemanuel.com/images/YouTube.svg",
"https://www.quinnemanuel.com/images/facebook-icon.svg",
"https://www.quinnemanuel.com/images/twitter-icon.svg",
"https://www.quinnemanuel.com/images/insta-icon.svg",
"https://www.quinnemanuel.com/images/linkedin-icon.svg",
"https://www.quinnemanuel.com/images/footerlogo.png"
] |
[] |
[] |
[
""
] | null |
[] |
2014-05-30T16:04:21
|
Quinn Emanuel has offices located around the globe. Contact any of our locations for more information about working together.
|
/useradmin-icon.png
|
https://www.quinnemanuel.com/offices/
|
Analytical / Performance
These allow us to recognize and count the number of users of our website and understand how such users navigate through our website. This helps to improve how our website works, for example, by ensuring that users can find what they are looking for easily. These cookies are session cookies which are erased when you close your browser.
Functional
These improve the functional performance of our website and make it easier for you to use. For example, cookies are used to remember that you have previously visited the website and asked to remain logged into it. These cookies qualify as persistent cookies, because they remain on your device for us to use during a next visit to our website. You can delete these cookies via your browser settings.
Targeting
These cookies record your visit to our website, the pages you have visited and the links you have followed to recognize you as a previous visitor and to track your activity on the website and other websites you visit. These cookies qualify as persistent cookies, because they remain on your device for us to use during a next visit to our Website. You can delete these cookies via your browser settings.
Essential
These are required for the operation of our website. They include, for example, cookies that enable you to log into secure areas. These cookies are session cookies that are erased considering the expiration duration set in the last column [Expiry] of the table below.
|
||||||
9034
|
dbpedia
|
2
| 71
|
https://soundcloud.com/telefon-tel-aviv/not-seeing
|
en
|
not seeing, by Telefon Tel Aviv
|
[
"https://i1.sndcdn.com/artworks-JR3ED1d0yO4G-0-t500x500.jpg"
] |
[] |
[] |
[
"record",
"sounds",
"share",
"sound",
"audio",
"tracks",
"music",
"soundcloud"
] | null |
[] | null |
Stream not seeing, by Telefon Tel Aviv on desktop and mobile. Play over 320 million tracks for free on SoundCloud.
|
en
|
https://a-v2.sndcdn.com/assets/images/sc-icons/favicon-2cadd14bdb.ico
|
SoundCloud
|
https://soundcloud.com/telefon-tel-aviv/not-seeing
| |||||
9034
|
dbpedia
|
0
| 91
|
https://www.openphone.com/blog/how-to-call-israel-from-the-us/
|
en
|
How to call Israel from the US: The complete guide
|
[
"https://www.openphone.com/blog/wp-content/uploads/2023/01/logo-light-theme-blk.svg",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/search-2.webp",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/search-2.webp",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/search-2.webp",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/how-to-call-israel-from-the-us-2-768x402.webp",
"https://www.openphone.com/blog/wp-content/uploads/2022/11/time-calling-israel-from-us.webp 1010w,https://www.openphone.com/blog/wp-content/uploads/2022/11/time-calling-israel-from-us-300x110.webp 300w,https://www.openphone.com/blog/wp-content/uploads/2022/11/time-calling-israel-from-us-300x110@2x.webp 600w",
"https://www.openphone.com/blog/wp-content/uploads/2022/11/time-calling-israel-from-us.webp",
"https://www.openphone.com/blog/wp-content/uploads/2022/11/calling-israel-from-us.webp 1014w,https://www.openphone.com/blog/wp-content/uploads/2022/11/calling-israel-from-us-300x149.webp 300w,https://www.openphone.com/blog/wp-content/uploads/2022/11/calling-israel-from-us-300x149@2x.webp 600w",
"https://www.openphone.com/blog/wp-content/uploads/2022/11/calling-israel-from-us.webp",
"https://secure.gravatar.com/avatar/2a0f5ace2d62ff435249f5dd1382e685?s=96&d=mm&r=g",
"https://secure.gravatar.com/avatar/2a0f5ace2d62ff435249f5dd1382e685?s=96&d=mm&r=g",
"https://www.openphone.com/blog/wp-content/uploads/2023/11/Group-627400-1.svg",
"https://www.openphone.com/blog/wp-content/uploads/2023/11/Group-627400-1.svg",
"https://www.openphone.com/blog/wp-content/plugins/wpforms-lite/assets/images/submit-spin.svg",
"https://www.openphone.com/blog/wp-content/plugins/wpforms-lite/assets/images/submit-spin.svg",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2-1024x445.webp 1024w,https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2-300x131.webp 300w,https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2-576x251.webp 576w,https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2.webp 1400w,https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2-300x131@2x.webp 600w",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/canadian-numbers-2-1024x445.webp",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-1024x685.webp 1024w,https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-300x201.webp 300w,https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-1536x1027.webp 1536w,https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-449x300.webp 449w,https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2.webp 1540w,https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-300x201@2x.webp 600w",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/call-uk-from-us-2-1024x685.webp",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a83508190483b7e00f0_Logo%20(1).svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a83508190483b7e00f0_Logo%20(1).svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a894ada4b72ecb93436_LinkedIn.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a894ada4b72ecb93436_LinkedIn.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/6542bcca4e73a14f22fe0276_Reddit.png",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/6542bcca4e73a14f22fe0276_Reddit.png",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/6542bcb836e60d97ffebb371_X.png",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/6542bcb836e60d97ffebb371_X.png",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a89fbf2140ef9951657_YouTube.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a89fbf2140ef9951657_YouTube.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a8a318da81d326c1bfb_Instagram.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a8a318da81d326c1bfb_Instagram.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a8affaac12a9444c646_Facebook.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a8affaac12a9444c646_Facebook.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a89d027f9bc3d8f56a1_Dribbble.svg",
"https://assets-global.website-files.com/6384fdd9fd42380b529fc942/64410a89d027f9bc3d8f56a1_Dribbble.svg",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/Img-3-1.webp 160w, https://www.openphone.com/blog/wp-content/uploads/2023/08/Img-3-1-150x150.webp 150w, https://www.openphone.com/blog/wp-content/uploads/2023/08/Img-3-1-120x120.webp 120w",
"https://www.openphone.com/blog/wp-content/uploads/2023/08/Img-3-1.webp",
"https://www.facebook.com/tr?id=661687461184851&ev=PageView&noscript=1"
] |
[
"https://www.youtube.com/embed/D4mZl-7mwyM?start=2&feature=oembed"
] |
[] |
[
""
] | null |
[
"Meagan Shelley"
] |
2022-11-15T07:45:12+00:00
|
Looking to call Israel from the US? Learn how to reach Israeli landline and cell phone numbers quickly and cheaply with OpenPhone.
|
en
|
OpenPhone Blog
|
https://www.openphone.com/blog/how-to-call-israel-from-the-us/
|
International calls were once associated with long-distance operators and the occasional headache. But with the rise of mobile phones and VoIP tech, reaching countries outside the US is easier than ever.
These days, you can make phone calls to Israel from the US in under thirty seconds — if you know the right code to dial, that is.
Let’s walk through each step of the calling process, including time factors to consider, current calling rates, and ways to save money while on the line.
Call Israel from the US in four easy steps
To make a call to Israel from the United States, follow these steps:
Dial 011 – This is the international dialing code for the U.S.
Dial 972 – This is the country code for Israel.
Dial the area code – This is typically a single digit. For example, Jerusalem’s area code is 2.
Dial the local phone number – This is usually a seven-digit number.
Please note that the specific area code and local phone number will vary depending on the person or business you are trying to reach.
As long as you have a phone, laptop, or browser extension, you can make calls to Israel from virtually any device. 📲 However, there are different steps required depending on the type of number you’re calling. We’re going to break these down by mobile number and landline number, starting with the latter.
Calling Israeli mobile phone numbers
The dialing code for landline phones in Israel can be broken down into four parts:
USA exit code
Israel’s country code
Local area code
Customer telephone number
Let’s pick apart each step below.
1. Punch in the exit code
Exit codes tell carriers you’re preparing to make an international call.
You won’t necessarily need to dial this manually. If you’re calling from a mobile phone or a VoIP number, just hit the plus (+) symbol. On OpenPhone, this will instantly add the exit code to your string of numbers.
If you’re using a desk phone and calling from the United States though, you’ll need to dial the exit code 011.
2. Dial the country code
Every country has its own unique calling code — including Israel’s country code of 972.
3. Add the area code prefix
Just like the US, Israel breaks its country into smaller chunks with area codes routing to separate districts. But unlike the US (which typically has three-digit city codes), these are just one number.
Here’s what this looks like for Israel’s major cities:
LocationArea Code Ashdod8 Beersheba (Be'er Sheva)8 Eilat8 Haifa4 Jerusalem2 Nazareth4 Netanya9 Tel Aviv3
If the area code you need isn’t listed here, tools like CountryCode.org provide a more exhaustive collection.
4. Enter the phone number
Almost done — now all you need is the specific phone number of your client, which will be nine digits long for a mobile number.
To recap, your string of numbers should look something like this if you’re calling someone in Tel Aviv:
+972 31-2345-6789 (fictional phone number)
Calling Israeli landline numbers
As we mentioned earlier, calling landline phones in Israel is different from calling someone’s mobile number — but only by a slim margin.
Let’s break this down in greater detail.
1. The exit code
No matter where you live, you’ll need to dial your country’s exit code to show carriers that you’re making an international call.
Here in the US, the exit code is 011. Dialing the plus symbol (+) instead of the US exit code also works if you’re using OpenPhone or dialing from your personal cell number (with most carriers).
2. The country code
Type 972 for Israel’s country code. No differences to worry about here!
3. The area code
This step stays exactly the same as dialing an Israeli mobile number. The area code will be a one-digit number depending on the city you’re calling.
4. The local number
Here’s where you’ll see the difference between dialing a landline number in Israel and a mobile number.
You’ll still dial the customer’s phone number as before. However, Israeli landline phone numbers have eight digits rather than nine, skewing your final results.
When you put all of the above steps together, you’re left with something like this:
+972 3 (one-digit area code) 1234-5678 (fictional phone number)
How to factor in the time difference when calling Israel from the US
As tempting as it is to call clients when it’s most convenient for you, there’s a significant time difference between the US and Israel to keep in mind. ⏰ The entire country follows the same time zone: Israel Daylight Time and Israel Standard Time (for when DST is not in effect).
Depending on your location, there may be more than half a day’s difference between yourself and your clients:
Eastern Time: You are seven hours behind Israel (your 12 PM is their 7 PM)
Central Time: You are eight hours behind Israel (your 12 PM is their 8 PM)
Mountain Time: You are nine hours behind Israel (your 12 PM is their 9 PM)
Pacific Time: You are ten hours behind Israel (your 12 PM is their 10 PM)
Alaska Time: You are eleven hours behind Israel (your 12 PM is their 11 PM)
Hawaii Time: You are thirteen hours behind Israel (your 12 PM is their 1 AM)
In most cases, it’s easier to use a conversion tool to compare time zones. Time and Date is relatively popular, as is Timebie.
How much does it cost to call Israel from the US?
The price you’ll pay to call Israel from the US largely depends on your carrier.
The FCC doesn’t regulate maximum fees, but sources indicate a range from a few pennies to a few dollars. You might end up paying $5 or $6 per hour of conversation or a whopping $200 for 60 minutes and some change. Other carriers expect you to pay through calling cards (think prepaid debits) or flat monthly rates.
These options aren’t without drawbacks. Calling cards that run dry will cut your line in the middle of a convo, while flat rates limit the international minutes you can use per month. In either case, none of these situations are convenient.
How to lower your calling costs to Israel
The results are in: traditional service carriers and old-school ‘solutions’ just aren’t cost-effective. Making free calls to Israel may not be possible, but it is possible to save big with OpenPhone’s VoIP for international calls and messages. Ditch calling cards and expensive contracts for good, and only pay for what you need — it really is that simple!
It just takes $0.04 per minute to make calls to Israel through OpenPhone. 💸 But there are other reasons why users can’t get enough of our solutions:
Locate our calling rates at any time; text or call to Canada and anyone in the US for free
Acquire all the local or toll-free numbers you need to serve different cities and team departments
Port over any existing number over to OpenPhone for free
Easily review call recording, voicemail transcripts, and other built-in features
Create business hours and an away voicemail greeting that sets expectations on when your team is available to take calls
Share a single number across your entire team or assign personal lines to each employee
Connect your numbers with the tools you’re already using (including Zapier, HubSpot, Slack, Gmail, and more)
Call Israel for less with OpenPhone
No matter how frequently you make calls to Israel, OpenPhone is simply better — better for your team, better for your workflow, and better for your bottom line. 🙌
Add credits to your account and start reaching callers in any city, from Jerusalem to Tel Aviv to every place in between. With borderless calling and WiFi messaging, there’s a good reason why users made us the #1 business platform on G2.
Start making calls to Israel today with OpenPhone’s seven-day free trial.
Check out our other international calling guides:
How to call Turkey from the US
How to call Australia from the US
|
|||||
9034
|
dbpedia
|
2
| 67
|
https://www.anumuseum.org.il/
|
en
|
Museum of the Jewish People Museum in Tel Aviv
|
[
"https://www.anumuseum.org.il/wp-content/uploads/2022/07/anu-logo-white-en.svg",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp1.jpeg",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/300.jpg",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp4.webp",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp3.webp",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp7.jpeg",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp5.webp",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp8.jpeg",
"https://www.anumuseum.org.il/wp-content/uploads/2024/05/hp6.jpeg",
"https://www.anumuseum.org.il/wp-content/uploads/2022/07/anu-logo-white-en.svg",
"https://www.anumuseum.org.il/wp-content/uploads/2022/07/accecibility-one-pixel.png",
"https://www.anumuseum.org.il/wp-content/uploads/2022/07/anu-logo-en.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2022-05-25T09:48:10+00:00
|
Anu Museum - Museum of the Jewish People: a museum in Tel Aviv of Jewish culture and art, which tells the story of the Jewish people
|
en
|
Museum of the Jewish People
|
https://www.anumuseum.org.il/
| ||||||
9034
|
dbpedia
|
0
| 2
|
https://observer.com/2017/02/telefon-tel-aviv-on-electronic-protest-music-embracing-sparse-sounds/
|
en
|
Telefon Tel Aviv on Electronic Protest Music & Embracing Sparse Sounds
|
[
"https://observer.com/wp-content/themes/newyorkobserver-2014/images/observer-logo-2015.png",
"https://observer-media.go-vip.net/wp-content/uploads/sites/2/2017/02/tta_press_1-credit_corinne_schiavone.jpg?quality=80&w=635",
"https://observer-media.go-vip.net/wp-content/uploads/sites/2/2017/02/10285056_787126614653822_3751800458589995287_o.jpg?quality=80&w=635",
"https://observer-media.go-vip.net/wp-content/uploads/sites/2/2017/02/10285056_787126614653822_3751800458589995287_o.jpg?quality=80&w=635",
"https://observer.com/wp-content/uploads/sites/2/2017/02/tta_press_1-credit_corinne_schiavone.jpg?quality=80&w=970",
"https://sb.scorecardresearch.com/p?c1=2&c2=37161820&cv=3.6.0&cj=1",
"https://www.facebook.com/tr?id=618909876214345&ev=PageView&noscript=1"
] |
[] |
[] |
[
""
] | null |
[
"Justin Joffe",
"observer.com",
"justin-joffe"
] |
2017-02-20T15:54:34
|
"People like me are gonna use those motherfuckers as fertilizer when we're all done."
|
en
|
Observer
|
https://observer.com/2017/02/telefon-tel-aviv-on-electronic-protest-music-embracing-sparse-sounds/
|
Holed up in his home studio wearing sweatpants and drinking tea, Joshua Eustis makes no promises that he’ll ever finish the new Telefon Tel Aviv record.
Sign Up For Our Daily Newsletter
Thank you for signing up!
By clicking submit, you agree to our <a href="http://observermedia.com/terms">terms of service</a> and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime.
See all of our newsletters
Fans of the electronic musician’s work credit Eustis and his late creative partner, Charlie Cooper with heralding the entire cottage industry of IDM, or Intelligent Dance Music, that has become ubiquitous in late-night hipster culture. But when Eustis and Cooper built these slow groovers from scratch 16 years ago at the start of the new millennium, they wondered if there would ever be a day when their music would be embraced and accepted by anyone outside of the electronic underground.
A lot has happened since then. Cooper passed away unexpectedly in 2009, abruptly ending Telefon Tel Aviv and leaving Eustis devastated. Without his best friend and creative partner, the project had no path to continue, and Eustis eventually put his creative energy into other work. He played on records by Nine Inch Nails, Puscifer and A Perfect Circle that demonstrated his sonic versatility. He started new projects The Black Queen and Second Woman with friends. He continued to channel his pain into his Sounds of Magdalene monicker. And last spring, after 15 years in the game, he resurrected Telefon Tel Aviv to tour again.
Beloved Detroit electronic label Ghostly International also brought him back to a new generation of listeners, releasing a remastered version of the first, now classic Telefon Tel Aviv record, Fahrenheit Fair Enough, much to the joy of Eustis’ longtime acolytes.
I caught up with Eustis ahead of a short tour that kicks off at Brooklyn’s Baby’s All Right this Wednesday. We talked about how the electronic music landscape has changed since 2001, the merits of sonic sparsity, and why its important to both challenge your listeners and reward their open ears.
[youtube https://www.youtube.com/watch?v=9NZZOWC1YJQ]
What kind of rabbit do you have?
He’s a Tortoise Dutch, a rescue, just four months old in the alley behind our house one morning. He’d been abandoned and pretty much near death, so we took him in.
Very unusual for a rabbit to respond to a stranger like that, they get very scared.
Yeah, it was weird. I think he was abused, definitely neglected. He was in terrible shape when we found him. Now he’s fine, he’s grown up and kind of runs the place.
People often buy a rabbit because it looks cute but don’t realize they’re not the easiest to take care of, they get scared and have heart attacks easily. A lot of asterisks there.
It’s daily upkeep, but that’s fine. My studio’s at home, so I’m home working on music anyway.
Did you talk to anybody back home in New Orleans about all the tornadoes today?
Oh yeah, of course. I called my mother soon as I saw the news. I think everyone’s OK.
It must feel like such a holy city in a weird way with all these forces of nature. I’m from Miami and it feels that way back home around hurricane season.
It’s the same kinda town, man.
Right by the water, cultural melting pot.
Miami and New Orleans are the two cities in the United States that are both Caribbean, in weather and in outlook. The food’s weird for the rest of America, it’s very different even from other places in the south or on the coast.
“[F]or me, the future is reductionist.”—Josh Eustis
What does the future sound like?
For me, it sounds very sparse. I’m turning 40 soon and I’m not a kid anymore, even though I still feel like one. So I’ve been going through this process in my life of getting rid of anything and everything that doesn’t have to do with staying alive and making music. Like things—I don’t want things, on a studio level and a personal level. This means things that I own and things that I have, but it also means mindsets, habits, everything. So for me, the future is reductionist, on a personal level.
Does the electronic landscape, as it exists since you came back to TTA as a project, work well with that sparsity? With regards to being able to travel and just have a whole mix on a USB key?
In a way. I don’t know how to do the DJ from a USB stick thing.
Good!
I still haven’t learned. I want to, I need to, but I still haven’t learned how to do that. This past year I played a lot of shows, and I don’t want gear everywhere. Partially because of playing shows for cheap, trying to travel low and stay afloat, trying not to lose my ass on shows. Let me not bring a ton of baggage, road cases and all this crap. But part of it also is, how much can I do with as little as possible?
That seems to stand in contrast to you touring with Moderat. I talked to them last year when the new record was coming out and I thought they took such a maximalist approach to their live show, intentionally, to distinguish themselves from what they called “laptop boy bands”. They wanna put on the full band electro show. Does your sparsity and paring things down function to let you exist in multiple musical contexts? Are you freeing yourself up to maybe play more inaccessible places, weirder festivals?
Sure, that’s part of it. But even Moderat, considering what you see onstage, they don’t bring that much shit with them. They’re really economical. It’s still a ton by normal standards, but for what you’re seeing, it’s very lightweight. It goes on an airplane. It’s not like Nine Inch Nails, multiple 18-wheelers full of shit that gets dragged from city to city and carted across the ocean. They have some cases and they put it on the airplane, then they take it out of baggage and it goes to the gig.
It’s still a well-oiled machine.
Yeah, there’s very much a German efficiency thing going on there.
Can electronic music ever hit the same levels of timely relevance or subversion as traditional protest music?
For me, and for a lot of us, electronic music absolutely is protest music, first and foremost. Look at the history of Detroit techno, OK? It was protest music because it came out of a system, made by and large almost entirely by poor African American people in an awful economic situation, boot heel on their throats from the government and from every systemic issue that still plagues pretty much every African American in America. It was a response in the same way hip-hop or rap was a response, which predates techno. People were like, “God, we’re fucked, everything’s terrible. What are we gonna do about it? Let’s throw a fuckin’ party!”
I guess there’s a bit of reclamation of agency there, too. When you’re a producer or composer and everything you make can exist in closed system that you can control, and you have it all at your discretion, you’re able to create this adjunct infrastructure. So much music, particularly mainstream electronica, is car commercial music. It’s branded ad nauseam and becomes marketing copy. I guess when you’re a producer who keeps everything on a closed track it’s a way to fight back.
Yeah, for those of us who love it and grew up with it, techno, specifically Detroit techno, was absolutely political in nature. Its themes and interests lay in space, the future, technology and all of that sort of stuff. But it came out of a shit economic and social situation for the people who made it, a direct response to that. I can’t speak for these people like Juan Atkins or Derrick May, but it seems pretty obvious that your assessment of it as a reclamation is right. What did they do? They created this entire underground world where people could go listen to this music, have fun and not be judged. It was a direct response to, and a stepping aside from everything wrong in society.
“That was kinda the thing—to take you out of wherever it is that you are in the moment and send you somewhere else.”
Sure. I’ve been talking to a ton of people about Accelerationism, which seeks to understand the frequency with which we absorb shit now, how often we digest the news and our attention spans acclimate to that pace. But though your records all sound totally different, they all sit with things and ask the listener to slow down, almost demand that we be present with them in some way.
Yeah, we try to do that. That was kinda the thing—to take you out of wherever it is that you are in the moment and send you somewhere else.
So how do you embrace that sparsity and that parsing down, how do you go with the current technology that wasn’t around when you used to build these sounds by hand? And how much of a perfectionist are you now that you’re playing these songs out for people again? What space are they living in for you on the road?
Well I haven’t been playing a ton of new stuff out, only one new song, and it feels great. But the whole thing is a lifestyle choice for me now. I’m cutting everything out. I’m getting rid of the fat. I’m separating the what from the chaff a lot more. Telefon Tel Aviv before, as a duo, has so much going on in every song that people don’t even know about. There are subliminal messages on every song, all over all three records, all these tiny little details, and almost nobody has caught any of it. But now, instead of worrying about all these details that nobody’s gonna notice, I’m not. I’m putting a lot of my detail-oriented work into things that people will notice, and usually that happens by not having a million things going on in the song at once. I try to keep it to a few core elements that are simple, really file those down and sand the edges. Or make them serrated sometimes, sometimes I don’t want the edges filed down. I’ll work on the details that you can hear, if you’re paying attention. I want the listener to be rewarded for their attention and not looking for things to find, necessarily.
[youtube https://www.youtube.com/watch?v=YzzttISJsPE]
Sure. You’ve also said that the new material was the first you’d gathered since Charlie passed that really made sense to you, that made sense to play out and pursue. So in that vein, what makes sense about it, and why now?
Why now? Two or three years ago I was ready to scuttle the project. And after talking to close friends about it, my girlfriend and my mom, the general consensus was, OK dude, if you wanna ditch this thing, cool, we’ll back you on it. But you’re throwing the baby out with the bathwater, in a way. You’re kind of just getting rid of it without even looking at it. Maybe you wanna take the box out, open it, examine the contents first and make sure its not all burnt and destroyed before you throw the box out. Take a stab at it before you give up. If you fail at it, fine, then you can just let it go and move onto something else. Uber always needs drivers! [laughs] The world needs plenty of bahtendas! So to me it was kind of like, if I just give up on it it’s an artistic death in a way, and the wall really started closing in around me. I thought, “I got to take one more stab at it and see if I can do it.” I still don’t know if I’m gonna be able to finish this record. I’m working on it every day, a lot, and it’s going really well. But I’m not sure what’s gonna happen.
You’re playing the mad scientist?
Yeah, I’m super sweatpants and cup of tea mode, all day every day, late into the night, and it’s going well. So that feels good, like maybe I’m not going to completely fail at it and I’ll be able to continue to do this. But I definitely reserve the right to change my mind.
“I want them to be rewarded, and I want them to enjoy it, but I don’t want it to feel like they’re just eating a bowl of fucking Fettuccine Alfredo on every song. Sometimes you gotta eat your lettuce, man.”
You’ll be fine, I mean, TTA fans have always embraced the mystery of your presence or non-presence in the songs. It takes on multiple contexts to many different people. I listen to all kinds of stuff, but TTA comes up in many different scenes and many different tribes, however you wanna describe it. I guess I’m curious how you look at that influence now, especially considering how different each of your albums is from the other. How have these different sonic pathways crystalized into your live performance now, into playing them for such large crowds of people as you tour? Is that informing the composition at all?
Yeah, you know, for the first time ever it definitely is informing the composition process. Because before, Charlie and I would stop playing shows aside from a DJ gig here or there, literally work on a record and then deal with how to play it live later. Now, and maybe this isn’t a good thing, but playing a lot of shows this year and opening for Moderat and getting the best crowd responses that we ever got… 20 percent of them maybe liked TTA and liked it, the other 80 percent at least were in a position to not hate it. They were very generous with me, and it felt really good, so I started to notice what kind of things they were responding to and what kind of things they are bored by. That doesn’t mean I’m going to make a whole record of things that the crowd responds to all the time—I want to piss them off or be slightly confrontational sometimes. I want people to be challenged by what they’re listening to, you know, but not the whole time. I want them to be rewarded, and I want them to enjoy it, but I don’t want it to feel like they’re just eating a bowl of fucking Fettuccine Alfredo on every song. Sometimes you gotta eat your lettuce, man. They’re gonna get the pasta, but they’re gonna get salad with it, you know?
European crowds seem a lot more permissive. The American electronic music scene is a lot younger than the European music scene, too. Our EDM bubble is just bursting now, and I feel like in the UK they got over poppy electronica years ago. From what you’re hearing, are there any flowers blossoming out of the EDM shit glut, the Vegas nightclub spectacles and the video screens?
The rose growing out of it is that people like me are gonna use those motherfuckers as fertilizer when we’re all done. The good thing is that people are aware of electronic music now, in a very broad sense, so there’s a little bit more that some of us can get away with. But for the most part, the flipside is that now, a lot of people have this idea that that’s what electronic music is. It’s kind of a weird thing when I think about Charlie and when we were first getting together, thinking, “Is there ever gonna be a day when the stuff that we’re doing is generally accepted and liked by people, or are we just too weird and up our own asses?” Well it didn’t really happen the way that we’d hoped, you know what I mean?
[youtube https://www.youtube.com/watch?v=L3a49kEQpVA]
You used to speak about the project as such a niche thing and say it’s not for everybody, but the modern festival context kind of allows for more cross-genre music to exist, too. You can see eight different types of music in an hour, and it’s a reminder that music can exist in multiple contexts now, much more than 15 years ago. For better or for worse.
Yeah! I see that. I feel like the general patience level for electronic music is much higher than it used to be. There were bumper stickers that actually said “Drum Machines Have No Soul”, which is actually the funniest fucking thing ever. I remember seeing them in the ’90s and the aughts from these old dinosaurs with bumpers stickers on their trucks, and my only response to that is, “OK, dude.” The Leboswki response—”That’s just, like, your opinion, man.” There are millions of people around the world that disagree with you on that, but I’m not gonna be the one to stat a fight over it.
I gotta find one of those bumper stickers now.
I wanna get one and put it on my road case.
Are you ready to release these new songs into the air yet?
Nooo, no, no, no. Not yet. There may be a little bit, it depends on multiple things. It depends on how I’m feeling. None of them are gonna be peppered in the set. If I start getting toward the end of the set and the crowd’s being really cool, if they’re super into it, maybe I’ll test it out and see if I like the way it goes. But right now? I don’t know. This is the Fahrenheit Fair Enough tour, so I’m starting in the ’90s and playing a little bit of everything up to this point.
A lot of people would love to have that vacuum perspective on their own creative history. Use it well!
I’ll do my best.
|
|||||
9034
|
dbpedia
|
0
| 13
|
https://www.wikiwand.com/en/Telefon_Tel_Aviv
|
en
|
Telefon Tel Aviv
|
[
"https://wikiwandv2-19431.kxcdn.com/_next/image?url=https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%2528Seattle_2006%2529.jpg/640px-Telefon_Tel_Aviv_%2528Seattle_2006%2529.jpg&w=640&q=50",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%28Seattle_2006%29.jpg/267px-Telefon_Tel_Aviv_%28Seattle_2006%29.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Telefon Tel Aviv is an American electronic music act formed in 1999 by musicians Charles Cooper and Joshua Eustis. Since Cooper's accidental death in 2009, Telefon Tel Aviv has continued with Eustis as the sole official member.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Telefon_Tel_Aviv
|
American electronic music project / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Telefon Tel Aviv?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
|
|||||
9034
|
dbpedia
|
2
| 0
|
https://corky.net/dotan/log/2004/03/telefon-tel-aviv.html
|
en
|
Telefon Tel Aviv – Distractions
|
[
"http://corky.net/dotan/images/isroleplay.jpg",
"http://corky.net/dotan/log/images/970-lead.gif",
"http://corky.net/dotan/images/poeta_lilr.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://corky.net/dotan/log/2004/03/telefon-tel-aviv.html
|
Telefon Tel Aviv is an ambient duo from the US. Here is an excerpt from an interview they gave Joel Bordeaux:
JB:
Is there any significance of the name "Telefon Tel Aviv," other than the consonance?
Charles:
Just the poetic quality. We wanted it to be something to invoke imagery. I don’t think we need a meaning. But we were invited to go play in outside Tel Aviv, in the desert. It looked like The Last Temptation of Christ, which was really cool.
JB:
Did you do it?
Josh:
No. We got kind of scared, what with the suicide bombers and all that. We didn’t think two American Catholic boys would fare well over there with both sides trying to put an end to it. I’d probably the only person in the entire Middle East with dreadlocks.
How charming when "Tel Aviv" becomes just an exotic word, like "Tokyo", "Singapore" or "California". Then you remember that "Beirut" and "Sudan" are also just exotic words to most people.
|
|||||||
9034
|
dbpedia
|
3
| 31
|
https://music.youtube.com/channel/UCcBHW4E1Tb97HsMvV2z8pig
|
en
|
Bevor Sie fortfahren
|
[
"https://www.gstatic.com/images/icons/material/system/1x/check_black_24dp.png",
"https://www.gstatic.com/images/icons/material/system/1x/check_white_24dp.png",
"https://www.gstatic.com/ac/cb/youtube_logo_v2.svg",
"https://www.gstatic.com/images/icons/material/system/1x/check_black_24dp.png",
"https://www.gstatic.com/images/icons/material/system/1x/check_white_24dp.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
de
|
//www.google.com/favicon.ico
|
https://consent.youtube.com/m
| |||||||
9034
|
dbpedia
|
0
| 25
|
https://www.sacklerschool.org/
|
en
|
American Medical Program Tel Aviv University – American Medical Program Tel Aviv University
|
[
"https://www.sacklerschool.org/wp-content/uploads/2023/07/cropped-AMP-TAU-SSM-2023.jpg",
"https://www.sacklerschool.org/wp-content/uploads/2018/07/10A2522-1024x683.jpg",
"https://www.sacklerschool.org/wp-content/uploads/2023/07/AMPTAU_main_2023-1024x553.jpg",
"https://www.sacklerschool.org/wp-content/uploads/2022/07/title-page_play-1024x576.jpg",
"https://www.sacklerschool.org/wp-content/uploads/2023/01/SJOM_webcover.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://www.sacklerschool.org/
|
As a result of COVID-19, the American Medical Program at Tel Aviv University is working virtually. You can leave a message at the New York office at sacklermed@sacklermed.org or by calling 212-688-8811. If you call, please leave your name, email address, and phone number, and we will get back to you as soon as possible. You can reach the Israel office at nyoffice@tauex.tau.ac.il.
|
|||||||
9034
|
dbpedia
|
2
| 47
|
https://www.danhotels.com/TelAvivHotels/DanPanoramaTelAvivHotel
|
en
|
Dan Panorama Tel Aviv Hotel
|
[
"https://www.danhotels.com/sites/default/files/logo.png",
"https://www.danhotels.com/themes/danhotel/images/languageicons/en.png",
"https://www.danhotels.com/themes/danhotel/images/languageicons/he.png",
"https://www.danhotels.com/themes/danhotel/images/logo_en.jpg",
"https://www.danhotels.com/sites/default/files/pictures/284-15_334x354%20eng.png",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-11/Slider%20DPTA%201600x600_c%20copy.jpg?itok=JusoVb4Y",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-11/1600x600_0.jpg?itok=B-yzBIrQ",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2018-08/PTGallery3.jpg?itok=H9KcG81O",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-10/IMG_002_1.jpg?itok=cHPGmP4M",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-11/Slider%20DPTA%201600x600_c%20copy.jpg?itok=JusoVb4Y",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-11/1600x600_0.jpg?itok=B-yzBIrQ",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2018-08/PTGallery3.jpg?itok=H9KcG81O",
"https://www.danhotels.com/sites/default/files/styles/full_page_3_8/public/2022-10/IMG_002_1.jpg?itok=cHPGmP4M",
"https://www.danhotels.com/sites/default/files/styles/header_banner_mobile/public/2022-11/Slider%20DPTA%201600x600_c%20copy_0.jpg?itok=SkFl9emO",
"https://www.danhotels.com/sites/default/files/styles/medium_1_1/public/2017-10/Selection_736_J%20%281%29.jpg?itok=_BkgtXAn",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2018-08/PTHighlights1.jpg?itok=P7ezfjEZ",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2018-08/PTHighlights2.jpg?itok=SAVIifRh",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2022-10/500x240.jpg?itok=S46MvfqS",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2017-10/Lamb%20Osso%20Buco.jpg?itok=6MXzs9j2",
"https://www.danhotels.com/sites/default/files/2018-08/PTGeneralTelAvivRoom.jpg",
"https://www.danhotels.com/sites/default/files/2018-08/PTGeneralDeluxePlus.jpg",
"https://www.danhotels.com/sites/default/files/2018-08/PTGeneralExecutiveRoom.jpg",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2018-08/NearbyHotelDT_0.jpg?itok=fUGpfUwv",
"https://www.danhotels.com/sites/default/files/styles/medium_12_25/public/2023-05/500X240%2001_2.jpg?itok=8fyk7dBI",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/Carli%20Photo.jpg?itok=kEZjThF0",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/8313402007_82d481c303_z.jpg?itok=LIFvgfzo",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/header1.jpg?itok=9pDK6ZVD",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/double1-1.jpg?itok=k18dySzK",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/7716308448_6c7e120263_z.jpg?itok=V2-Ml5k5",
"https://www.danhotels.com/sites/default/files/styles/medium/public/2017-10/7716147790_e7d60aa5f2_z.jpg?itok=S4mxxP7h",
"https://www.danhotels.com/sites/default/files/inline-images/england_0.png",
"https://www.danhotels.com/sites/default/files/inline-images/France_0.png",
"https://www.danhotels.com/sites/default/files/inline-images/Germany_0.png",
"https://www.danhotels.com/sites/default/files/inline-images/Belgium_0.png",
"https://www.danhotels.com/sites/default/files/inline-images/usa_0.png",
"https://www.danhotels.com/sites/default/files/inline-images/canada_0.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
The Dan Panorama Tel Aviv Hotel, ideally located for business or pleasure, is the only Tel Aviv hotel with a comprehensive convention and exhibition center
|
en
|
/sites/default/files/favicon.png
|
https://www.danhotels.com/TelAvivHotels/DanPanoramaTelAvivHotel
|
Located across from a sandy beach with the warm, clear waters of the Mediterranean Sea, the Dan Panorama Tel Aviv Hotel is located midway between the modern city Tel Aviv, and Jaffa, an ancient port city.
Furnished with contemporary flair and highlighted by splendid views, the Dan Panorama Hotel features elegantly appointed guestrooms. Guests can enjoy a host of in-house amenities: a sun deck, premium leisure facilities, and the city’s largest hotel pool. On the doorstep are boutique stores, restaurants and nightclubs. On top of that, the hotel is within walking distance of almost any major attraction in Tel Aviv
For a truly Mediterranean atmosphere, explore the Carmel Market - one of the largest open markets in Israel with ultra-fresh produce as well as meats, fish and baked goods. Also nearby is the Neve Tzedek neighborhood, which has an authentic village feel with its tiny alleyways and boutique stores. South of the hotel is the Old Railway Station complex, an exciting entrainment hub with restaurants, shops and nightclubs. Further south is Jaffa, famous for its association with the biblical stories of Jonah, Solomon, and Saint Peter. Jaffa’s ancient port has been in use since the Bronze Age and you can still watch the fishers going out to sea.
The Dan Panorama Tel Aviv Hotel is directly linked to the Dan Panorama Convention Center - the city’s biggest convention and exhibition center. Simply stroll across the lobby and you’re there.
|
|||||
9034
|
dbpedia
|
0
| 48
|
https://www.vonageforhome.com/blog/how-to-call-israel-from-the-u-s/
|
en
|
How to Call Israel from the US
|
[
"https://www.vonageforhome.com/content/dam/residential/us-en/V-Dot-Logo.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Learn how to make calls to Israel from the USA. Calling Jerusalem, Tel Aviv, or anywhere in Israel? Learn how here.
|
en
|
https://www.vonageforhome.com/blog/how-to-call-israel-from-the-u-s/
|
To call Israel from the U.S., just follow these simple dialing directions:
First dial 011, the U.S. exit code.
Next dial 972, the country code for Israel.
Then dial the area code (1 digit — please see a sample calling code list below)
and finally the phone number (7 digits).
Need more help with how to call Israel?
Here is a list of some major city area codes and city calling codes:
ISRAEL AREA CODES Ashdod 8 Ashkelon 8 Beer-Shev‘a 8 Bethlehem 2 Eilat 8 Gaza Strip 8 Haifa 4 Herzlia 9 Hevron 2 Jaffa 3 Jericho 2 Jerusalem 2 Nazareth 4 Naharia 4 Netanya 9 Raanana 9 Ramalla 2 Ramat Gan 3 Safed 4 Sharon Junction 9 Shefelah 8 Tel Aviv 8 West Bank 2
Need to call a toll-free number in Israel?
A toll-free number may not always work when calling Israel from the U.S. Toll-free calls are usually free, yes, but you could get charged an international rate when calling from abroad. Try the regular number instead.
|
||||||
9034
|
dbpedia
|
3
| 32
|
https://www.setlist.fm/setlists/telefon-tel-aviv-4bd67b0a.html
|
en
|
Telefon Tel Aviv Concert Setlists
|
[
"https://w1.cdn.setlistfm.com/img/sfm-logo.png",
"https://w1.cdn.setlistfm.com/img/sfm-artist-default.jpg",
"https://w1.cdn.setlistfm.com/img/sfm-artist-default.jpg",
"https://sb.scorecardresearch.com/p?c1=2&c2=3005317&cv=2.0&cj=1",
"https://pixel.quantserve.com/pixel/p-98KjJHhiQX_yM.gif"
] |
[] |
[] |
[
"setlists",
"concert",
"Telefon Tel Aviv",
"Telefon Tel Aviv setlist",
"tour",
"setlist"
] | null |
[] | null |
Get Telefon Tel Aviv setlists - view them, share them, discuss them with other Telefon Tel Aviv fans for free on setlist.fm!
|
/img/icon-large.ico
|
setlist.fm
|
https://www.setlist.fm/setlists/telefon-tel-aviv-4bd67b0a.html
|
No songs of other artists were covered by Telefon Tel Aviv yet. Have you seen Telefon Tel Aviv covering another artist? Add or edit the setlist and help improving our statistics!
|
|||||
9034
|
dbpedia
|
0
| 88
|
https://www.icrc.org/en/contact
|
en
|
Contact us
|
https://www.icrc.org/themes/custom/icrc_theme/favicon.ico
|
https://www.icrc.org/themes/custom/icrc_theme/favicon.ico
|
[
"https://www.icrc.org/themes/custom/icrc_theme/html/images/logo/logo.svg",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/document_new/image/emblem_icrc_0.jpg.webp?itok=gxHdhPd3",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/document_new/image/mural-geneva_conventions_1949_2.jpg.webp?itok=HbOabQ7M",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/2024-07/V-P-ET-E-00319-min_0.JPG.webp?itok=j2tsAo1X",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/2024-01/_MG_8720.jpg.webp?itok=2AZ7XfdH",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/home_carousel_slide/image/2-rfl-gaza_1.jpg.webp?itok=JoAn5wzV",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/document_new/image/detention_prisoners_icrc_action_0.jpg.webp?itok=TpAQDvTQ",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/country/banner_list/ukraine_russia_conflict_two_years_icrc_1.jpg.webp?itok=lcQ0qnBT",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/donation_form/image/violence_october_israel_gaza_0_6.jpg.webp?itok=ZXAgVDAk",
"https://www.icrc.org/sites/default/files/styles/mobile_img_rect_01/public/2024-08/food-parcels-districution-lebanon.jpg.webp?itok=_BaTIFaT",
"https://www.icrc.org/sites/default/files/2024-02/contact-map.jpg",
"https://www.icrc.org/sites/default/files/2024-04/contact-map-ecogia.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-02-21T14:21:53+01:00
|
en
|
/themes/custom/icrc_theme/favicon.ico
|
International Committee of the Red Cross
|
https://www.icrc.org/en/contact
|
If you are writing to us to ask for information about Israel and the Occupied Territories, please note that:
Due to the high volume of messages, we are currently unable to respond to all requests. We are prioritizing our responses to directly affected individuals and their families who are requesting ICRC services. Thank you for your patience and understanding.
For the latest news about ICRC’s work in Israel and the Occupied Territories, please visit our website. You can also find more detailed information in the following pages:
|
|||
9034
|
dbpedia
|
0
| 30
|
https://telefon-tel-aviv.bandcamp.com/album/map-of-what-is-effortless
|
en
|
Map of What Is Effortless
|
[
"https://telefon-tel-aviv.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif",
"https://telefon-tel-aviv.bandcamp.com/img/search/tumbleweed-emptystate-lightbg.gif",
"https://f4.bcbits.com/img/blank.gif",
"https://f4.bcbits.com/img/a3946923765_16.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032759833_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027039411_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0015586247_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027956984_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029195738_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0031822156_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0034174709_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020149539_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0033848776_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0006435525_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027308412_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0015164519_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0034216100_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0008475791_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0005236299_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004936888_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0031976630_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0035762648_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032840110_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0032774620_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016477753_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0009854256_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0033315422_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023051389_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023000732_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0019091117_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026082589_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001354417_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0024067354_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016985402_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0024926458_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0002039333_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0008618314_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0021809865_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0001632259_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0010597282_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0028783779_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020856013_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0013082866_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027454018_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0005379815_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0020035955_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0022842499_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0031945870_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023851593_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0017203777_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0029566323_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0013753155_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0016969452_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0028404925_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0003471153_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0010568941_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0011310587_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0027605977_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0026087196_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0035824387_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0025640109_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0004773045_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0023540892_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0022659741_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0036816528_42.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0018603616_42.jpg",
"https://f4.bcbits.com/img/0017212294_21.jpg",
"https://f4.bcbits.com/img/a1091409088_7.jpg",
"https://f4.bcbits.com/img/a2086685438_7.jpg",
"https://f4.bcbits.com/img/a3946923765_7.jpg",
"https://f4.bcbits.com/img/a1038901185_7.jpg",
"https://f4.bcbits.com/img/a2586093619_9.jpg",
"https://f4.bcbits.com/img/a2975740667_9.jpg",
"https://f4.bcbits.com/img/a1714700601_9.jpg",
"https://f4.bcbits.com/img/a1023598364_9.jpg",
"https://f4.bcbits.com/img/a1861364805_9.jpg",
"https://f4.bcbits.com/img/a3132392253_9.jpg",
"https://f4.bcbits.com/img/a1926443246_9.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif",
"https://f4.bcbits.com/img/0008978705_33.jpg",
"https://f4.bcbits.com/img/0017910730_33.jpg",
"https://f4.bcbits.com/img/0011454133_33.jpg",
"https://f4.bcbits.com/img/0036886199_33.jpg",
"https://telefon-tel-aviv.bandcamp.com/img/0.gif"
] |
[] |
[] |
[
""
] | null |
[] |
2017-04-14T00:00:00+00:00
|
Map of What Is Effortless by Telefon Tel Aviv, released 14 April 2017
1. When It Happens It Moves All By Itself
2. I Lied
3. My Week Beats Your Year
4. Bubble and Spike
5. Map of What Is Effortless
6. Nothing Is Worth Losing That
7. What It Is Without The Hand That Wields It
8. What It Was Will Never Again
9. At The Edge Of The World You Will Still Float
10. Jouzu Desu Ne [Digital Bonus]
11. Sound In A Dark Room [Digital Bonus]
12. Sound In A Dark Room (Ryuichi Sakamoto Remix) [Digital Bonus]
By 2004, New Orleans friends Joshua Eustis and the late Charles Cooper had fixed their flag in the landscape of the American electronic underground as Telefon Tel Aviv. The duo’s acclaimed 2001 debut Fahrenheit Fair Enough, released by John Hughes III’s Chicago-based Hefty imprint, offered a deep Southern sweep on glitchy IDM and pastoral post-rock, drawing as much from bounce rap, R&B, and jazz as it did Autechre and Aphex Twin. The follow-up, Map of What Is Effortless, managed to both expand and refine the sound. Signature polyrhythmic programming met new vocal presences on seven of the nine tracks; the soulful tenor of Damon Aaron is mixed front and center; Lindsay Anderson’s delivery buoys stylistically, from atmospheric and breathy, to plain-spoken and deadpan, to stuttered and digitally clipped. The Loyola University Chamber Orchestra contribute to the title track; a sumptuous centerpiece exemplifying Telefon Tel Aviv’s craft for wordless, cinematic storytelling.
Ghostly International, having reissued Fahrenheit Fair Enough at its 15th anniversary in 2016, will update Map of What Is Effortless on April 7th. The digital release, noticeably absent in most streaming libraries until now, features three bonus tracks: “Jouzu Desu Ne,” “Sound In A Dark Room,” and a remix of the latter by legendary composer Ryuichi Sakamoto.
|
en
|
Telefon Tel Aviv
|
https://telefon-tel-aviv.bandcamp.com/album/map-of-what-is-effortless
|
supported by 48 fans who also own “Map of What Is Effortless”
go to album
supported by 45 fans who also own “Map of What Is Effortless”
go to album
supported by 36 fans who also own “Map of What Is Effortless”
go to album
|
|||||
9034
|
dbpedia
|
0
| 26
|
https://www.augury.com/contact/
|
en
|
Contact us
|
[
"https://www.augury.com/wp-content/uploads/2023/03/augury-logo.svg",
"https://www.augury.com/wp-content/uploads/2023/05/Machine-health-icon-menu.png",
"https://www.augury.com/wp-content/uploads/2023/05/Machine-health-icon-menu.png",
"https://www.augury.com/wp-content/uploads/2023/05/Proces-Health-icon-Menu.png",
"https://www.augury.com/wp-content/uploads/2023/05/Proces-Health-icon-Menu.png",
"https://www.augury.com/wp-content/uploads/icon-business-goal.svg",
"https://www.augury.com/wp-content/uploads/icon-business-goal.svg",
"https://www.augury.com/wp-content/uploads/icon-industry.svg",
"https://www.augury.com/wp-content/uploads/icon-industry.svg",
"https://www.augury.com/wp-content/uploads/2023/03/1200px-Flag_of_the_United_States-1.svg",
"https://www.augury.com/wp-content/uploads/2023/03/Flag-Israel-1.svg",
"https://www.augury.com/wp-content/uploads/NYC.png 370w, https://www.augury.com/wp-content/uploads/NYC-300x130.png 300w",
"https://www.augury.com/wp-content/uploads/NYC.png",
"https://www.augury.com/wp-content/uploads/Haifa.png 370w, https://www.augury.com/wp-content/uploads/Haifa-300x130.png 300w",
"https://www.augury.com/wp-content/uploads/Haifa.png",
"https://www.augury.com/wp-content/uploads/Telaviv.png 370w, https://www.augury.com/wp-content/uploads/Telaviv-300x130.png 300w",
"https://www.augury.com/wp-content/uploads/Telaviv.png",
"https://www.augury.com/wp-content/uploads/2023/03/augury-footer.svg",
"https://www.augury.com/wp-content/uploads/2023/03/augury-footer.svg",
"https://www.augury.com/wp-content/uploads/Guaranteed-Diagnostics-badge.png 337w, https://www.augury.com/wp-content/uploads/Guaranteed-Diagnostics-badge-249x300.png 249w",
"https://www.augury.com/wp-content/uploads/Guaranteed-Diagnostics-badge.png",
"https://www.augury.com/wp-content/uploads/2023/05/Machine-Health-1.svg",
"https://www.augury.com/wp-content/uploads/2023/05/Machine-Health-1.svg",
"https://www.augury.com/wp-content/uploads/2023/05/Proces-Health-1.svg",
"https://www.augury.com/wp-content/uploads/2023/05/Proces-Health-1.svg",
"https://www.augury.com/wp-content/uploads/rock-solid_webinar_thumbnail.png 1024w, https://www.augury.com/wp-content/uploads/rock-solid_webinar_thumbnail-300x157.png 300w, https://www.augury.com/wp-content/uploads/rock-solid_webinar_thumbnail-768x403.png 768w",
"https://www.augury.com/wp-content/uploads/rock-solid_webinar_thumbnail.png"
] |
[] |
[] |
[
""
] | null |
[] |
2023-03-23T07:37:41+00:00
|
Want to learn more about Augury and how we can help your business? Get in touch with us! Together we'll figure out the right solution for you.
|
en
|
Augury
|
https://www.augury.com/contact/
|
Prescriptive AI machine diagnostics to predict and prevent industrial machine failure and improve machine performance.
Prescriptive AI process optimization to achieve new levels of production efficiency, yield, and sustainability (previously known as Seebo).
|
|||||
9034
|
dbpedia
|
2
| 68
|
https://open.spotify.com/track/6Khe6QnpZDDn5prXfrmhGZ
|
en
|
Komponent - Telefon Tel Aviv RMX
|
https://i.scdn.co/image/ab67616d0000b2734b8cd4a35cbd20d19f36289c
|
https://i.scdn.co/image/ab67616d0000b2734b8cd4a35cbd20d19f36289c
|
[] |
[] |
[] |
[
""
] | null |
[] |
2008-04-04T00:00:00
|
Listen to Komponent - Telefon Tel Aviv RMX on Spotify. Song · Apparat, Telefon Tel Aviv · 2008
|
en
|
Spotify
|
https://open.spotify.com/track/6Khe6QnpZDDn5prXfrmhGZ
| ||||
9034
|
dbpedia
|
1
| 4
|
https://earth-agency.com/artist/telefon-tel-aviv/
|
en
|
Telefon Tel Aviv
|
[
"https://earth-agency.com/app/uploads/2023/06/TTA-Press-2-scaled.jpeg"
] |
[] |
[] |
[
""
] | null |
[] |
2014-04-26T11:21:52+00:00
|
Telefon Tel Aviv is an experimental electronic duo formed in 1999 by two New Orleans high-school friends, Joshua Eustis and Charles Cooper. Following years of playing in various local bands and learning the ropes of electronic music production, Eustis and Cooper wrote the demos for what would become Telefon Tel Aviv in 1999. After sending […]
|
en
|
Earth Agency
|
https://earth-agency.com/artist/telefon-tel-aviv/
| ||||||
9034
|
dbpedia
|
2
| 72
|
https://www.stereogum.com/1912639/telefon-tel-aviv-reak-what/premiere/
|
en
|
Telefon Tel Aviv – “Reak What”
|
[
"https://www.facebook.com/tr?id=514545615712257&ev=PageView&noscript=1",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo.svg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo-white.svg",
"https://static.stereogum.com/uploads/2024/08/Adele-Hello-1723235623-330x330.jpg",
"https://static.stereogum.com/uploads/2024/08/logic-ultra85-5-1723062522-330x330.jpg",
"https://static.stereogum.com/uploads/2024/08/unnamed-2024-08-12T161458.080-1723493702-330x330.jpg",
"https://static.stereogum.com/uploads/2024/01/The-Smiths-1704991004-330x330.jpeg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo-white.svg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo-white.svg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/comment.svg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo-white.svg",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo.svg",
"https://static.stereogum.com/uploads/2016/11/GI-272_1500x300-1480352728-1000x1000.jpg",
"https://static.stereogum.com/uploads/2016/11/GI-272_1500x300-1480352728-1000x1000.jpg",
"https://secure.gravatar.com/avatar/704da6351494b2c5e30ff0cc4d829ff1?s=75&d=mm&r=g",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/plus.svg",
"https://static.stereogum.com/uploads/2024/08/A-Whole-New-Sound-artwork-1723751271-330x330.jpg",
"https://static.stereogum.com/uploads/2024/08/Blink-182-fan-columbus-first-date-1723729788-330x330.jpg",
"https://static.stereogum.com/uploads/2024/08/reagan-movie-1723904743-330x330.jpg",
"https://static.stereogum.com/uploads/2023/06/logo-white-1685977841.png",
"https://www.stereogum.com/wp-content/themes/stereogum-ws/images/logo-white.svg",
"https://static.stereogum.com/uploads/2020/11/digest-1604810817.jpg",
"https://static.stereogum.com/uploads/2020/11/logo_subscribe_home-1591115180-1604707650.png"
] |
[
"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/295072784%3Fsecret_token%3Ds-DFwaz&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&"
] |
[] |
[
""
] | null |
[
"Bruce Hamilton",
"Bruce Hamilton Subscriber oceanseltzer"
] |
2016-11-28T12:03:24-05:00
|
Since the passing of Charlie Cooper in 2009, Telefon Tel Aviv’s other half Josh Eustis has remained active by recording with Puscifer, touring with Nine Inch Nails, and writing under the name Sons Of Magdalene. It’s only this year that Eustis has brought the Telefon Tel Aviv name out of dormancy with North American tour […]
|
en
|
Stereogum
|
https://www.stereogum.com/1912639/telefon-tel-aviv-reak-what/premiere/
|
Since the passing of Charlie Cooper in 2009, Telefon Tel Aviv’s other half Josh Eustis has remained active by recording with Puscifer, touring with Nine Inch Nails, and writing under the name Sons Of Magdalene. It’s only this year that Eustis has brought the Telefon Tel Aviv name out of dormancy with North American tour dates and a reissue of their 2001 debut, Fahrenheit Fair Enough. The reissue features the original nine tracks with a fresh coat of paint, plus eight bonus tracks from the early days. “Reak What” was the first track ever recorded by the duo, and it sounds the part with glitchy percussion, (what could be) distorted speech, and a carefully-played synth. Unsurprisingly, it’s a good representation of what IDM was in the ’90s, and thankfully, it rules. Check it out below.
Tracklist:
01 “Fahrenheit Fair Enough”
02 “Ttv”
03 “Lotus Above Water”
04 “John Thomas On The Inside Is Nothing But Foam”
05 “Life Is All About Taking Things In and Putting Things Out”
06 “Your Face Reminds Me Of When I Was Old”
07 “What’s The Use Of Feet If You Haven’t Got Legs”
08 “Introductory Nomenclature”
09 “Fahrenheit Far Away”
Bonus tracks:
10 “Reak What” (Archive ’99)
11 “Fahrenheit Fair Enough” (Archive ’99)
12 “Cliccum” (Archive ’99)
13 “7 8″ (Archive ’99)
14 “Eight Track Project” (Archive ’99)
15 “Rittle Alpha” (Archive ’99)
16 “Rittle Beta” (Archive ’99)
17 “What’s The Use Of Feet If You Haven’t Got Legs?” (Archive ’99)
|
|||||
9034
|
dbpedia
|
0
| 84
|
https://www.neosair.it/en/destinations/travels-israel/travels-tel-aviv
|
en
|
[
"https://www.facebook.com/tr?id=1147495665429699&ev=PageView&noscript=1",
"https://www.neosair.it/assets/images/load.gif",
"https://www.neosair.it/assets/images/logo-neos.svg",
"https://www.neosair.it/assets/images/LogoPRM.png",
"https://www.neosair.it/WebResource.axd?d=bz1GOHxgya_ymJ6WpVXKelk1fkbu9RHrC0xxFo8_k_CN98H1iAwJmCkYDd0duuauRYCssFerPBzy6BqSjTUDJvI6ydvAzSJqwiGvz_lEbAu5k65xyqN78m4wnO4ZawCn0&t=638594009573255540",
"https://www.neosair.it/WebResource.axd?d=bz1GOHxgya_ymJ6WpVXKelk1fkbu9RHrC0xxFo8_k_CN98H1iAwJmCkYDd0duuauRYCssFerPBzy6BqSjTUDJvI6ydvAzSJqwiGvz_lEbAu5k65xyqN78m4wnO4ZawCn0&t=638594009573255540",
"https://www.neosair.it/en/destinations/assets/images/carriers/{{f[0].VettoreMaster}}.svg",
"https://www.neosair.it/en/destinations/assets/images/carriers/{{f[0].VettoreMaster}}.svg",
"https://www.neosair.it/WebResource.axd?d=bz1GOHxgya_ymJ6WpVXKelk1fkbu9RHrC0xxFo8_k_CN98H1iAwJmCkYDd0duuauRYCssFerPBzy6BqSjTUDJvI6ydvAzSJqwiGvz_lEbAu5k65xyqN78m4wnO4ZawCn0&t=638594009573255540",
"https://www.neosair.it/content/images/PNR_Guide.jpg",
"https://www.neosair.it/content/images/TO_Guide1.jpg",
"https://www.neosair.it/content/images/pagine/telaviv.jpg",
"https://www.neosair.it/content/images/pagine/telaviv01.jpg",
"https://www.neosair.it/content/images/pagine/telaviv02.jpg",
"https://www.neosair.it/WebResource.axd?d=bz1GOHxgya_ymJ6WpVXKelk1fkbu9RHrC0xxFo8_k_CN98H1iAwJmCkYDd0duuauRYCssFerPBzy6BqSjTUDJvI6ydvAzSJqwiGvz_lEbAu5k65xyqN78m4wnO4ZawCn0&t=638594009573255540",
"https://www.neosair.it/assets/images/logoneosalpi.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
The best offers for cheap flights to Tel Aviv: Neos Air flights always includes luggage, web check-in and insurance in the price.
|
it
|
/assets/ico/favicon.ico
|
Neos
|
https://www.neosair.it/DynamicPage.aspx?key=destinazionitelaviv<=be&apt=tlv&lang=en_IT
|
Where can I find the PNR? Where can I find the Tour Operator number?
The Web Check-in service is FREE and available from 48 hours until 3 hours before your scheduled flight departure.
(*) Be informed that the email address you have entered could be used to send a satisfaction survey, anonymous and optional, on Neos' services.
(*) Reservation number Tour Operator: not to type the letters on the number of reservations (example for reservation AL 123123 you have to type only numeric characters 123123) or if the file number shows the current year, the initials Tour Operators and the numeric characters you have to type everything (example for reservation 2015 TO 22555 you type 2015TO22555).
|
|||||
9034
|
dbpedia
|
3
| 86
|
https://post-punk.com/erased-by-ai-in-telefon-tel-avivs-video-for-a-younger-version-of-myself/
|
en
|
Erased by AI in Telefon Tel Aviv's Video for "A Younger Version of Myself" — Post
|
[
"https://post-punk.com/wp-content/uploads/2019/08/postpunkcomblackline.png",
"https://post-punk.com/wp-content/uploads/2024/02/UrbanHeat_PP_bannerAd_final.gif",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow-1.png",
"https://post-punk.com/wp-content/uploads/2019/08/postpunkcomblackline.png",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow.png",
"https://post-punk.com/wp-content/uploads/2019/08/ayoungerversionofmyself-1920x1080.png",
"https://post-punk.com/wp-content/uploads/2024/08/AMOC-2024-BANNER.jpg",
"https://post-punk.com/wp-content/uploads/2024/06/banner-postpunk-11.gif",
"https://post-punk.com/wp-content/uploads/2020/10/Merch-Now-Available.jpg",
"https://secure.gravatar.com/avatar/d07fd37b41874f7c4f4f4526c171fe7e?s=120&d=mm&r=g",
"https://post-punk.com/wp-content/uploads/2019/08/sleepers-560x420.png",
"https://post-punk.com/wp-content/uploads/2019/08/kmlive2-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Daniel-Knutz-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Third-Arrow-Promo-Pic-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Photo-by-Ebru-Yildiz-WEB-3-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/loveandrocketsheader-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/The-Curse-Omar-Doom-Still_-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Backyard-Ritual-560x420.png",
"https://post-punk.com/wp-content/uploads/2024/08/The-Sheila-Divine-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/image0-1-560x420.jpeg",
"https://post-punk.com/wp-content/uploads/2024/06/image001.gif",
"https://post-punk.com/wp-content/uploads/2024/03/Master_WTlogo-Wire_White_300x600px.jpg",
"https://post-punk.com/wp-content/uploads/2024/04/POSTPUNK-APRIL-JUNE-2024.gif",
"https://post-punk.com/wp-content/uploads/2024/03/Banner_Postpunk_AV091-AV092.gif",
"https://post-punk.com/wp-content/uploads/2024/05/Post-Punk-S-2024-1.gif",
"https://post-punk.com/wp-content/uploads/2024/02/240201-CHF24_insta.jpg",
"https://post-punk.com/wp-content/uploads/2024/03/NIGHT-SINS-POST-PUNK-AD.jpg",
"https://post-punk.com/wp-content/uploads/2022/08/BANNER_FABRIKA-RECORDS.gif",
"https://post-punk.com/wp-content/uploads/2020/05/dka-ad.jpg",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow.png",
"https://post-punk.com/wp-content/uploads/2024/04/Post-Punk_T-shirt-Mockup_lrg-scaled.jpg"
] |
[
"https://www.youtube.com/embed/uQE-t6K1jWY"
] |
[] |
[
""
] | null |
[
"post-punk.com",
"Alice Teeple",
"Frank Deserto",
"www.facebook.com"
] |
2019-08-30T18:24:56+00:00
|
Following a series of great production work, such as with Drab Majesty on The Demonstration, and Modern Mirror, Joshua Eustis is back with the first Telefon Tel Aviv album in…
|
en
|
Post-Punk.com
|
https://post-punk.com/erased-by-ai-in-telefon-tel-avivs-video-for-a-younger-version-of-myself/
|
Following a series of great production work, such as with Drab Majesty on The Demonstration, and Modern Mirror, Joshua Eustis is back with the first Telefon Tel Aviv album in 10 years, titled Dreams Are Not Enough—which will be out September 27 via Ghostly.
In his video for the album’s second single “A Younger Version of Myself”, Eustis has teamed up with director Lance Drake, and programmer Michail Rybakov, to create an audiovisual piece that captures the angst-ridden zeitgeist of our current relationship with technology.
“A sophisticated AI neural network tracks and selectively erases Telefon Tel Aviv from the transient spaces of the nighttime Los Angeles Landscape…”
“Last autumn I was researching the topic of an organism and its environment, and how to visualize the interconnection between the two. After all, we are made of what we eat, where we live, what tools we use as well as all the non-human entities that live on and in us.
One approach I took was to let the machine find and remove human bodies and let it fill in what it thinks would belong there. As a result, a gooey, trembling, impermanent mass would appear instead of a body, a mass full of sticks and stones, clouds and lights, walls and birds and all the other stuff that surrounds us in our daily lives. In addition, letting the machine decide what constitutes a human body, letting the machine remove what it sees feels… wrong somehow; feels as if Asimov’s three laws of AI are in need of an amendment – ‘You shall not remove those who created you’.” -Michail Rybakov
‘“This is sort of a love letter to the lonely places in LA, a city that is overrun with humanity but still full of emptiness and a sort of hard underbelly that isn’t really seen unless it’s sought out. It seemed an appropriate backdrop for the socio-political commentary of the song, since the loneliness resulting from the farce of American individualism and our current post-capitalist dread are consistent daily counterweights to happiness and peace for far too many, while we also grapple with our own personal issues.” – Joshua Eustis [Telfon tel Aviv]
Watch the video for “A Younger Version of Myself” below
Order ‘Dreams Are Not Enough’ at Ghostly, or at the retailer of your choice: Here
Telefon Tel Aviv – 2019 Tour Dates
|
|||||
9034
|
dbpedia
|
0
| 1
|
https://www.facebook.com/telefontelavivofficial/
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
[
"https://facebook.com/security/hsts-pixel.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://www.facebook.com/login/
| ||||
9034
|
dbpedia
|
0
| 92
|
https://www.jpost.com/contactus
|
en
|
The Jerusalem Post
|
[
"https://www.facebook.com/tr?id=1730128020581377&ev=PageView&noscript=1",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/mail-header.svg",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/twitter-header.svg",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/facebook-header.svg",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/446494",
"https://images.jpost.com/image/upload/v1651128831/Icons/NYC3.svg",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/profile-user.svg",
"https://images.jpost.com/image/upload/v1713438137/logo4_d8nmsc.png",
"https://images.jpost.com/image/upload/v1713438137/logo4_d8nmsc.png",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/search.svg",
"https://images.jpost.com/image/upload/f_auto,fl_lossy/Icons/profile-user.svg",
"https://images.jpost.com/image/upload/482064",
"https://images.jpost.com/image/upload/482418",
"https://images.jpost.com/image/upload/v1680521745/mail1-footer_dwfxfv.svg",
"https://images.jpost.com/image/upload/v1680521745/twitter1-footer_j9nys9.svg",
"https://images.jpost.com/image/upload/v1680521745/facebook1-footer_sq9jm0.svg",
"https://images.jpost.com/image/upload/v1680521743/youtube1-footer_kuzudx.svg",
"https://images.jpost.com/image/upload/v1680426878/telegram-footer_zxck2w.svg",
"https://images.jpost.com/image/upload/v1680426878/instegram-footer_brctag.svg",
"https://images.jpost.com/image/upload/v1680426878/linkein-footer_jeeib8.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Contact Us
|
en
|
https://www.jpost.com/contactus
|
Contact Us
The Jerusalem Post Customer Service Center can be contacted with any questions or requests:
Telephone: *2421 * Extension 4 or 03-7619056
Fax: 03-5613699
E-mail: subs@jpost.com
The center is staffed and provides answers on Sundays through Thursdays between 7:00 a.m. and 2:00 p.m. and Fridays only handles distribution requests between 7:00 a.m. and 12:00 p.m.
For international customers: The center is staffed and provides answers on Sundays through Thursdays between 7:00 a.m. and 2:00 p.m. Israel time.
US Toll Free number: 1-800-448-9291
Fax: 972-3-561-3699
E-mail: subs@jpost.com
E-Mail Addresses
Subscriptions - Israel Daily: subs@jpost.com
Subscriptions - International: subs@jpost.com
Subscriptions - Online: eedition@jpost.com
Youth Magazines: ymags@jpost.com
Print advertising: ads@jpost.com
Internet advertising: webads@jpost.com
Circulation: subs@jpost.com
Advertising
Telephone 972-3-761-9002
Israel toll-free: 1-800-22-22-21
Fax 972-3-561-0777
Online/Internet Advertising
Fax 972-73-794-9008
E-mail: webads@jpost.com
North American Advertising Sales
E-mail: webads@jpost.com
Subscription Sales
US toll-free: 1-800-827-1119
1-888-576-7881 (8 a.m - 10 p.m EST)
UK toll-free: 0-8000-283-945
Israel toll-free: 1-800-574-574
Other countries: +972-3-761-9059
Fax: +972-3-561-0415
Tel Aviv Office
P.O. Box 9344, Tel Aviv 6109202 - Israel
Phone: 972-3-761-9000
Fax: 972-3-561-1001
Head Office - Jerusalem
Editorial Offices and Administration
The Jerusalem Post Building,
PO Box 81, Jerusalem, 91000 Israel
Telephone 972-2-531-5666
Fax 972-2-538-9527
|
||||||
9034
|
dbpedia
|
3
| 28
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
en
|
Ten Years After the Death of Its Co-Founding Member, Telefon Tel Aviv Returns With a Haunting New Album
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.billboard.com/wp-content/uploads/media/Telefon-Tel-Aviv-pr-2019-billboard-1548.jpg?w=942&h=623&crop=1",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Joshua Glazer"
] |
2019-09-27T14:10:05+00:00
|
The 'unintentional solo act' returns with 'Dreams Are Not Enough,' out today via Ghostly International.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
The announcement came like everything else these days, on Twitter.
Amidst the endless stream of celebrity hot takes, memes and existential dread, Josh Eustis typed, “I’m beyond relieved to be able to share this news, finally.” The news in question was for Dreams Are Not Enough, the first Telefon Tel Aviv album in a decade and the first since the death of Charlie Cooper, who co-founded TTA with Eustis in 1999.
Back then, TTA was a duo comprised of Eustis and Charlie Cooper, formed in New Orleans in 1999 before moving north to Chicago to be in the midst of the city’s fecund independent music community. In 2001, they released Fahrenheit Fair Enough on Hefty Records, a label run by John Hughes III, descendant of the ‘80s teen movie legend. The music, a melancholic blend of glitchy forward-moving rhythms and satisfying synth and guitar melodies, announced TTA as part of the broader musical conversation happening between local bands like Tortoise on post rock institution Thrill Jockey Records and a like-minded U.K. scene anchored by Warp Records and newer artists including Four Tet and M83.
Thus began a steady ascent that saw two more critically acclaimed and audience adored albums, 2004’s A Map of What Is Effortless and 2009’s Immolate Yourself. The latter album signified a shift in sound from the delicate laptop electronica of the first two records to a more emotive song-driven style buoyed by large washes of shimmering polyphonic synths. It was released on German techno powerhouse BPitch Control and promised a new level of popularity for Eustis and Cooper. But the promise was short-lived. A mere two days after Immolate’s release, Cooper died of an accidental overdose of sleeping pills and alcohol.
Trending on Billboard
Ten years later, Eustis is still coming to terms with Cooper’s death, but issuing the first Telefon Tel Aviv album since the tragedy, Dreams Are Not Enough, marks a watershed moment for the unintentional solo act returning to the project that most had assumed was permanently defunct. First, there’s the theme of the album, out today (Sept. 27) via Ghostly International, based on a dream that haunted Eustis in childhood and reappeared in his psyche following Cooper’s passing.
“I’ve known the song titles for almost a decade now. Since a year or two after Charlie died,” Eustis reveals before attempting to explain the source of a cycle of song named “i dream of it often;,” “a younger version of myself,” “standing at the bottom of the ocean;” “arms aloft,” “mouth agape,” “eyes glaring,” “not seeing,” not breathing,” and finally, “still as stone in a watery fane.” Listed top to bottom on the front of the record sleeve, these titles form a harrowing poem for listeners to digest before they even press play. Once they do, the music is as doleful and unnerving as the stanzas suggest.
Unpacking the poetic lifeblood of Dreams requires some explanation. To start, there’s an actual incident. A childhood vacation on the Gulf Coast when 8-year-old Eustis swam too far from shore — in pursuit of a pod of dolphins, as he recalls — and came to the shelf where the floor of the ocean suddenly drops off.
“I just saw blackness as far as the eye can see, all the way down. You’re looking into the void,” he recounts. “I freaked out and swam back to shore and wouldn’t get back in the water.”
That terrifying event led to the recurring nightmare where Eustis would see himself submerged under the waves, “It’s me again, the little red bathing suit, little boy Joshie looking down over the shelf, and I can see that version of myself standing on the bottom of the ocean.” One hardly needs a degree in psychology to understand how the loss of his friend might have stirred up other traumas from Eustis’ past.
Fortunately, when the dream revisited the now-adult musician, he jotted down his impressions after awakening from the nightmare. “So many of my ideas come from being in this liminal state between sleep and wakefulness,” Eustis explains. “My dream journal is essential for me to function as an artist.”
Yet inspiration is only one ingredient for making a record like Dreams. Others include technical innovation, which Eustis pursued for more than two years by learning Max MSP, a software system that allows for the creation of entirely new musical tools deployed on Dreams.
Then there is time and money, both of which come in short supply for an independent artist making his way in the current music business climate. In the years following Cooper’s death, Eustis moved to Los Angeles and established himself as an able sideman, doing time on tour with industrial rock legends Nine Inch Nails and appearing on records by Tool frontman Maynard James Keenan’s A Perfect Circle and Puscifer projects.
More recently, Eustis has leveled up his studio hustle, at various times mixing, mastering and engineering music for goth-loving techno producers Vatican Shadow and Silent Servant, as well as industrial sensations Drab Majesty and Orphx. There has also been multiple albums as Sons of Magdalene (a solo endeavor), Second Woman (a collaboration with Turk Dietrich) and The Black Queen (a trio including former Dillenger Escape Plan frontman Greg Puciato and NIN technician Steven Alexander Ryan). Through it all, new Telefon Tel Aviv was still in the back of Eustis’ mind.
“I had been iterating on Telefon stuff the whole time, even though I thought I wasn’t ever going to do it again,” Eustis says. “I’d get three or four things kind of finished and later think ‘This is all terrible!’ and just scrap it and start over.”
A dozen shows opening for Moderat in 2016 reactivated TTA as a touring concern, slowly acclimating Eustis to the idea of a new record. But it was an intervention by Sam Valenti, the owner of the Ghostly International label that is putting out Dreams as part of its 20th Anniversary year, that forced his hand. “Sam was like, ‘We’ve been talking about this for five years. Are you going to do this? Are you not going to do this? Do you need an advance to block out time so that you can not worry about other people’s music and just work on your own?’”
Ghostly bought Eustis the month or so he needed this spring to finish the album. He’s happy to report that it came together both quickly and painlessly once all of the obstacles were removed, but can’t help but reveal that a severe depression followed its completion. “With Charlie, we were usually both despondent while working on a record,” he chuckles. “So this was different.”
Nevertheless, Eustis is excited to have Dreams out in the world and is preparing to tour behind the record. He speaks fondly of the small but dedicated fanbase he can count on to attend his shows and purchase Ghostly’s gorgeous, gold-splattered vinyl pressing. But mostly, Eustis is left to wonder what might have happened had Cooper lived. Where might their career have taken them in an alternate reality where the lives of promising young people aren’t cut short, leaving others to pick up the pieces?
“That’s the thing that sticks in my craw the most,” he admits before accepting the situation for what must be the thousandth time. “Then again, the music I’m making is weird and challenging and probably would never have found a much wider audience. And I’m fine with that.”
|
|||||
9034
|
dbpedia
|
0
| 51
|
https://www.kornferry.com/about-us/global-offices
|
en
|
Global Offices
|
[
"https://www.kornferry.com/content/experience-fragments/kornferry-v2/en/header/master/_jcr_content/root/header/mainHeader%20containerMax%20d-flex%20justify-space-between%20align-center/headerLogo.coreimg.svg/1696363437761/kf-logo-green.svg",
"https://www.kornferry.com/content/experience-fragments/kornferry-v2/en/header/master/_jcr_content/root/header/mainHeader%20containerMax%20d-flex%20justify-space-between%20align-center/homepageheaderLogo.coreimg.svg/1696363440634/kf-logo-white.svg",
"https://www.kornferry.com/content/experience-fragments/kornferry-v2/en/footer/master/_jcr_content/root/footer/footerLogo.coreimg.svg/1696363440634/kf-logo-white.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/etc.clientlibs/kornferry-v2/clientlibs/clientlib-site/resources/images/favicons/safari-pinned-tab.svg
|
https://www.kornferry.com/about-us/global-offices
|
We have a global footprint. Our organizational consulting services synchronize strategy and talent to drive superior performance for our clients. Our 11,000 + colleagues serve clients in more than 50 countries.
|
||||||
9034
|
dbpedia
|
1
| 8
|
https://en.wikipedia.org/wiki/Benjamin_Netanyahu
|
en
|
Benjamin Netanyahu
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8c/Extended-protection-shackle.svg/20px-Extended-protection-shackle.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Benjamin_Netanyahu%2C_February_2023.jpg/220px-Benjamin_Netanyahu%2C_February_2023.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Benjamin_Netanyahu_Signature.svg/128px-Benjamin_Netanyahu_Signature.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Netanyahu%27s_military_service_I.jpg/170px-Netanyahu%27s_military_service_I.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/MIT_Building_10_and_the_Great_Dome%2C_Cambridge_MA.jpg/220px-MIT_Building_10_and_the_Great_Dome%2C_Cambridge_MA.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Flickr_-_Government_Press_Office_%28GPO%29_-_Benjamin_Netanyahu_and_Sorin_Hershko.jpg/170px-Flickr_-_Government_Press_Office_%28GPO%29_-_Benjamin_Netanyahu_and_Sorin_Hershko.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._BENJAMIN_NETANYAHU_SHAKING_HANDS_WITH_PALESTINIAN_AUTHORITY_CHAIRMAN_YASSER_ARAFAT.jpg/170px-Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._BENJAMIN_NETANYAHU_SHAKING_HANDS_WITH_PALESTINIAN_AUTHORITY_CHAIRMAN_YASSER_ARAFAT.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Houghton_house_Netanyahu_Albright_Arafat.jpg/220px-Houghton_house_Netanyahu_Albright_Arafat.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._Netanyahu_Visiting_the_Western_Wall.jpg/170px-Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._Netanyahu_Visiting_the_Western_Wall.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/Med-Netan.jpeg/220px-Med-Netan.jpeg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Benjamin_Netanyahu_and_Yohanan_Danino_2012.jpg/220px-Benjamin_Netanyahu_and_Yohanan_Danino_2012.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Clinton_Netanyahu_Abbas_Mitchell_2_Sep_2010.jpg/220px-Clinton_Netanyahu_Abbas_Mitchell_2_Sep_2010.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Visita_a_Israel_para_el_Funeral_de_Estado_de_Shimon_Peres_%2830022263895%29.jpg/220px-Visita_a_Israel_para_el_Funeral_de_Estado_de_Shimon_Peres_%2830022263895%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/SecStae_viasit_April_2018_%2841884908901%29.jpg/220px-SecStae_viasit_April_2018_%2841884908901%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Joseph_Dunford_visit_to_Israel%2C_May_2017_DSC_3508_%2833798189093%29.jpg/220px-Joseph_Dunford_visit_to_Israel%2C_May_2017_DSC_3508_%2833798189093%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5d/President_Trump_at_the_Israel_Museum._Jerusalem_May_23%2C_2017_President_Trump_at_the_Israel_Museum._Jerusalem_May_23%2C_2017_%2834460980460%29.jpg/220px-President_Trump_at_the_Israel_Museum._Jerusalem_May_23%2C_2017_President_Trump_at_the_Israel_Museum._Jerusalem_May_23%2C_2017_%2834460980460%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/President_of_Ukraine_held_a_meeting_with_the_Prime_Minister_of_Israel%2C_January_2018.III.jpeg/220px-President_of_Ukraine_held_a_meeting_with_the_Prime_Minister_of_Israel%2C_January_2018.III.jpeg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/97/President_Trump_Welcome_the_Prime_Minister_of_Israel_to_the_White_House%2C_25_March_2019.jpg/220px-President_Trump_Welcome_the_Prime_Minister_of_Israel_to_the_White_House%2C_25_March_2019.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/3f/Jerusalem_demonstrations_06.jpg/220px-Jerusalem_demonstrations_06.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/%D7%9E%D7%A2%D7%95%D7%9F_%D7%A8%D7%95%D7%94%D7%9E_%D7%91%D7%91%D7%9C%D7%A4%D7%95%D7%A8_%D7%A4%D7%95%D7%A0%D7%94_%D7%95%D7%A9%D7%99%D7%99%D7%A8%D7%AA_%D7%91%D7%A0%D7%99%D7%9E%D7%99%D7%9F_%D7%A0%D7%AA%D7%A0%D7%99%D7%94%D7%95_%D7%A2%D7%95%D7%96%D7%91%D7%AA_11.7.2021_4.jpg/220px-%D7%9E%D7%A2%D7%95%D7%9F_%D7%A8%D7%95%D7%94%D7%9E_%D7%91%D7%91%D7%9C%D7%A4%D7%95%D7%A8_%D7%A4%D7%95%D7%A0%D7%94_%D7%95%D7%A9%D7%99%D7%99%D7%A8%D7%AA_%D7%91%D7%A0%D7%99%D7%9E%D7%99%D7%9F_%D7%A0%D7%AA%D7%A0%D7%99%D7%94%D7%95_%D7%A2%D7%95%D7%96%D7%91%D7%AA_11.7.2021_4.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/%D7%94%D7%9E%D7%97%D7%90%D7%94_%D7%A0%D7%92%D7%93_%D7%94%D7%94%D7%A4%D7%99%D7%9B%D7%94_%D7%94%D7%9E%D7%A9%D7%A4%D7%98%D7%99%D7%AA%2C_%D7%A7%D7%A4%D7%9C%D7%9F_%D7%A4%D7%99%D7%A0%D7%AA_%D7%9E%D7%A0%D7%97%D7%9D_%D7%91%D7%92%D7%99%D7%9F%2C_4_%D7%91%D7%9E%D7%A8%D7%A5_2023.jpg/220px-%D7%94%D7%9E%D7%97%D7%90%D7%94_%D7%A0%D7%92%D7%93_%D7%94%D7%94%D7%A4%D7%99%D7%9B%D7%94_%D7%94%D7%9E%D7%A9%D7%A4%D7%98%D7%99%D7%AA%2C_%D7%A7%D7%A4%D7%9C%D7%9F_%D7%A4%D7%99%D7%A0%D7%AA_%D7%9E%D7%A0%D7%97%D7%9D_%D7%91%D7%92%D7%99%D7%9F%2C_4_%D7%91%D7%9E%D7%A8%D7%A5_2023.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Prime_Minister_Sunak_met_with_Prime_Minister_Netanyahu_at_10_Downing_Street_in_2023.jpg/220px-Prime_Minister_Sunak_met_with_Prime_Minister_Netanyahu_at_10_Downing_Street_in_2023.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/P20230920CS-0125_%2853234992098%29.jpg/220px-P20230920CS-0125_%2853234992098%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Benjamin_Netanyahu_addresses_the_118th_United_States_Congress_%28cropped%29.jpg/220px-Benjamin_Netanyahu_addresses_the_118th_United_States_Congress_%28cropped%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/80px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/66/DodgerBlue_flag_waving.svg/15px-DodgerBlue_flag_waving.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/16px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/7d/Trump_Peace_Plan_Map.jpg/200px-Trump_Peace_Plan_Map.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/President_Trump_and_The_First_Lady_Participate_in_an_Abraham_Accords_Signing_Ceremony_%2850345629858%29.jpg/220px-President_Trump_and_The_First_Lady_Participate_in_an_Abraham_Accords_Signing_Ceremony_%2850345629858%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/7f/Flickr_-_Government_Press_Office_%28GPO%29_-_A_memorial_service_of_Ethiopian_immigrants.jpg/170px-Flickr_-_Government_Press_Office_%28GPO%29_-_A_memorial_service_of_Ethiopian_immigrants.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Flickr_-_Israel_Defense_Forces_-_Prime_Minister_and_Defense_Minister_at_Weaponry_Display.jpg/220px-Flickr_-_Israel_Defense_Forces_-_Prime_Minister_and_Defense_Minister_at_Weaponry_Display.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/97/Demonstrations_and_protests_against_United_States_recognition_of_Jerusalem_in_Tehran_032.jpg/220px-Demonstrations_and_protests_against_United_States_recognition_of_Jerusalem_in_Tehran_032.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Btselem-south_israel2.jpg/220px-Btselem-south_israel2.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Putin-Netanyahu-Moscow_Victory_Day_Parade_09-05-2018.jpg/220px-Putin-Netanyahu-Moscow_Victory_Day_Parade_09-05-2018.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1a/Budapeszt_Spotkanie_premier%C3%B3w_pa%C5%84stw_Grupy_Wyszehradzkiej_%2835181214174%29.jpg/220px-Budapeszt_Spotkanie_premier%C3%B3w_pa%C5%84stw_Grupy_Wyszehradzkiej_%2835181214174%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/13/President_Trump_and_The_First_Lady_Participate_in_an_Abraham_Accords_Signing_Ceremony_%2850346326831%29.jpg/220px-President_Trump_and_The_First_Lady_Participate_in_an_Abraham_Accords_Signing_Ceremony_%2850346326831%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dc/The_Prime_Minister%2C_Shri_Narendra_Modi_welcomes_the_Prime_Minister_of_Israel%2C_Mr._Benjamin_Netanyahu%2C_on_his_arrival%2C_at_Air_Force_Station%2C_Palam%2C_in_New_Delhi_on_January_14%2C_2018_%284%29.jpg/220px-thumbnail.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/3c/2019_Jantar_na_Resid%C3%AAncia_do_Primeiro-Ministro_de_Israel.jpg/220px-2019_Jantar_na_Resid%C3%AAncia_do_Primeiro-Ministro_de_Israel.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/ac/Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._Netanyahu_at_Memorial_Service_for_Yoni.jpg/170px-Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._Netanyahu_at_Memorial_Service_for_Yoni.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._BENJAMIN_NETANYAHU_LIGHTING_HANUKA_CANDLES_WITH_HIS_WIFE_AND_SONS.jpg/220px-Flickr_-_Government_Press_Office_%28GPO%29_-_P.M._BENJAMIN_NETANYAHU_LIGHTING_HANUKA_CANDLES_WITH_HIS_WIFE_AND_SONS.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/20px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/24/Wikinews-logo.svg/27px-Wikinews-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/23px-Wikiquote-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/26px-Wikisource-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/27px-Wikidata-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Flag_of_Algeria.svg/23px-Flag_of_Algeria.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Flag_of_Burkina_Faso.svg/23px-Flag_of_Burkina_Faso.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/50/Flag_of_Burundi.svg/23px-Flag_of_Burundi.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Flag_of_Cameroon.svg/23px-Flag_of_Cameroon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Flag_of_Cape_Verde.svg/23px-Flag_of_Cape_Verde.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Flag_of_the_Central_African_Republic.svg/23px-Flag_of_the_Central_African_Republic.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Flag_of_Chad.svg/23px-Flag_of_Chad.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6f/Flag_of_the_Democratic_Republic_of_the_Congo.svg/20px-Flag_of_the_Democratic_Republic_of_the_Congo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/92/Flag_of_the_Republic_of_the_Congo.svg/23px-Flag_of_the_Republic_of_the_Congo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/34/Flag_of_Djibouti.svg/23px-Flag_of_Djibouti.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Flag_of_Egypt.svg/23px-Flag_of_Egypt.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Flag_of_Equatorial_Guinea.svg/23px-Flag_of_Equatorial_Guinea.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Flag_of_Eswatini.svg/23px-Flag_of_Eswatini.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Flag_of_Ethiopia.svg/23px-Flag_of_Ethiopia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/Flag_of_Gabon.svg/20px-Flag_of_Gabon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/ed/Flag_of_Guinea.svg/23px-Flag_of_Guinea.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Flag_of_Guinea-Bissau.svg/23px-Flag_of_Guinea-Bissau.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Flag_of_C%C3%B4te_d%27Ivoire.svg/23px-Flag_of_C%C3%B4te_d%27Ivoire.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/05/Flag_of_Libya.svg/23px-Flag_of_Libya.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Flag_of_Lesotho.svg/23px-Flag_of_Lesotho.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Flag_of_Madagascar.svg/23px-Flag_of_Madagascar.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/92/Flag_of_Mali.svg/23px-Flag_of_Mali.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/43/Flag_of_Mauritania.svg/23px-Flag_of_Mauritania.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Flag_of_Mauritius.svg/23px-Flag_of_Mauritius.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Flag_of_Morocco.svg/23px-Flag_of_Morocco.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Flag_of_Mozambique.svg/23px-Flag_of_Mozambique.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/00/Flag_of_Namibia.svg/23px-Flag_of_Namibia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f4/Flag_of_Niger.svg/18px-Flag_of_Niger.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Flag_of_Rwanda.svg/23px-Flag_of_Rwanda.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Flag_of_the_Sahrawi_Arab_Democratic_Republic.svg/23px-Flag_of_the_Sahrawi_Arab_Democratic_Republic.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0a/Flag_of_S%C3%A3o_Tom%C3%A9_and_Pr%C3%ADncipe.svg/23px-Flag_of_S%C3%A3o_Tom%C3%A9_and_Pr%C3%ADncipe.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fd/Flag_of_Senegal.svg/23px-Flag_of_Senegal.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/17/Flag_of_Sierra_Leone.svg/23px-Flag_of_Sierra_Leone.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a0/Flag_of_Somalia.svg/23px-Flag_of_Somalia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Flag_of_Sudan.svg/23px-Flag_of_Sudan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Flag_of_Tanzania.svg/23px-Flag_of_Tanzania.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/68/Flag_of_Togo.svg/23px-Flag_of_Togo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Flag_of_Tunisia.svg/23px-Flag_of_Tunisia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/Flag_of_Uganda.svg/23px-Flag_of_Uganda.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/7a/Flag_of_the_Republic_of_Abkhazia.svg/23px-Flag_of_the_Republic_of_Abkhazia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Flag_of_the_Taliban.svg/23px-Flag_of_the_Taliban.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Flag_of_Bahrain.svg/23px-Flag_of_Bahrain.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/Flag_of_Bangladesh.svg/23px-Flag_of_Bangladesh.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/91/Flag_of_Bhutan.svg/23px-Flag_of_Bhutan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Flag_of_Brunei.svg/23px-Flag_of_Brunei.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/83/Flag_of_Cambodia.svg/23px-Flag_of_Cambodia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Flag_of_the_People%27s_Republic_of_China.svg/23px-Flag_of_the_People%27s_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/26/Flag_of_East_Timor.svg/23px-Flag_of_East_Timor.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/41/Flag_of_India.svg/23px-Flag_of_India.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Flag_of_Indonesia.svg/23px-Flag_of_Indonesia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Flag_of_Iran.svg/23px-Flag_of_Iran.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Flag_of_Iraq.svg/23px-Flag_of_Iraq.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/9e/Flag_of_Japan.svg/23px-Flag_of_Japan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Flag_of_Jordan.svg/23px-Flag_of_Jordan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d3/Flag_of_Kazakhstan.svg/23px-Flag_of_Kazakhstan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Flag_of_Kuwait.svg/23px-Flag_of_Kuwait.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c7/Flag_of_Kyrgyzstan.svg/23px-Flag_of_Kyrgyzstan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Flag_of_Laos.svg/23px-Flag_of_Laos.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/59/Flag_of_Lebanon.svg/23px-Flag_of_Lebanon.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/66/Flag_of_Malaysia.svg/23px-Flag_of_Malaysia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Flag_of_Mongolia.svg/23px-Flag_of_Mongolia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/Flag_of_Myanmar.svg/23px-Flag_of_Myanmar.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9b/Flag_of_Nepal.svg/12px-Flag_of_Nepal.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/51/Flag_of_North_Korea.svg/23px-Flag_of_North_Korea.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/32/Flag_of_Pakistan.svg/23px-Flag_of_Pakistan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/00/Flag_of_Palestine.svg/23px-Flag_of_Palestine.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Flag_of_the_Philippines.svg/23px-Flag_of_the_Philippines.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/65/Flag_of_Qatar.svg/23px-Flag_of_Qatar.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0d/Flag_of_Saudi_Arabia.svg/23px-Flag_of_Saudi_Arabia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/48/Flag_of_Singapore.svg/23px-Flag_of_Singapore.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Flag_of_South_Korea.svg/23px-Flag_of_South_Korea.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/12/Flag_of_South_Ossetia.svg/23px-Flag_of_South_Ossetia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Flag_of_Sri_Lanka.svg/23px-Flag_of_Sri_Lanka.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Flag_of_Syria.svg/23px-Flag_of_Syria.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/23px-Flag_of_the_Republic_of_China.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Flag_of_Tajikistan.svg/23px-Flag_of_Tajikistan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/a/a9/Flag_of_Thailand.svg/23px-Flag_of_Thailand.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Flag_of_the_United_Arab_Emirates.svg/23px-Flag_of_the_United_Arab_Emirates.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Flag_of_Uzbekistan.svg/23px-Flag_of_Uzbekistan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/21/Flag_of_Vietnam.svg/23px-Flag_of_Vietnam.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/Flag_of_Yemen.svg/23px-Flag_of_Yemen.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/36/Flag_of_Albania.svg/21px-Flag_of_Albania.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/19/Flag_of_Andorra.svg/22px-Flag_of_Andorra.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Flag_of_Armenia.svg/23px-Flag_of_Armenia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Flag_of_Austria.svg/23px-Flag_of_Austria.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Flag_of_Azerbaijan.svg/23px-Flag_of_Azerbaijan.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/85/Flag_of_Belarus.svg/23px-Flag_of_Belarus.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/92/Flag_of_Belgium_%28civil%29.svg/23px-Flag_of_Belgium_%28civil%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Flag_of_Bosnia_and_Herzegovina.svg/23px-Flag_of_Bosnia_and_Herzegovina.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Flag_of_Bulgaria.svg/23px-Flag_of_Bulgaria.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Flag_of_Croatia.svg/23px-Flag_of_Croatia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Flag_of_the_Czech_Republic.svg/23px-Flag_of_the_Czech_Republic.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9c/Flag_of_Denmark.svg/20px-Flag_of_Denmark.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Flag_of_Estonia.svg/23px-Flag_of_Estonia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Flag_of_Finland.svg/23px-Flag_of_Finland.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/c/c3/Flag_of_France.svg/23px-Flag_of_France.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Flag_of_Georgia.svg/23px-Flag_of_Georgia.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/b/ba/Flag_of_Germany.svg/23px-Flag_of_Germany.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Flag_of_Greece.svg/23px-Flag_of_Greece.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Flag_of_Hungary.svg/23px-Flag_of_Hungary.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/ce/Flag_of_Iceland.svg/21px-Flag_of_Iceland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/45/Flag_of_Ireland.svg/23px-Flag_of_Ireland.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/0/03/Flag_of_Italy.svg/23px-Flag_of_Italy.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/Flag_of_Kosovo.svg/21px-Flag_of_Kosovo.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/84/Flag_of_Latvia.svg/23px-Flag_of_Latvia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/47/Flag_of_Liechtenstein.svg/23px-Flag_of_Liechtenstein.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/1/11/Flag_of_Lithuania.svg/23px-Flag_of_Lithuania.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Flag_of_Luxembourg.svg/23px-Flag_of_Luxembourg.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Flag_of_Malta.svg/23px-Flag_of_Malta.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/Flag_of_Moldova.svg/23px-Flag_of_Moldova.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Flag_of_Monaco.svg/19px-Flag_of_Monaco.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/Flag_of_Montenegro.svg/23px-Flag_of_Montenegro.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/20/Flag_of_the_Netherlands.svg/23px-Flag_of_the_Netherlands.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/79/Flag_of_North_Macedonia.svg/23px-Flag_of_North_Macedonia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Flag_of_Norway.svg/21px-Flag_of_Norway.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/1/12/Flag_of_Poland.svg/23px-Flag_of_Poland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/5c/Flag_of_Portugal.svg/23px-Flag_of_Portugal.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Flag_of_Romania.svg/23px-Flag_of_Romania.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/f/f3/Flag_of_Russia.svg/23px-Flag_of_Russia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Flag_of_Serbia.svg/23px-Flag_of_Serbia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/e6/Flag_of_Slovakia.svg/23px-Flag_of_Slovakia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Flag_of_Slovenia.svg/23px-Flag_of_Slovenia.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/9/9a/Flag_of_Spain.svg/23px-Flag_of_Spain.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4c/Flag_of_Sweden.svg/23px-Flag_of_Sweden.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/08/Flag_of_Switzerland_%28Pantone%29.svg/15px-Flag_of_Switzerland_%28Pantone%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/49/Flag_of_Ukraine.svg/23px-Flag_of_Ukraine.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/a/ae/Flag_of_the_United_Kingdom.svg/23px-Flag_of_the_United_Kingdom.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b3/Flag_of_Vatican_City_%282023%E2%80%93present%29.svg/15px-Flag_of_Vatican_City_%282023%E2%80%93present%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Flag_of_Aruba.svg/23px-Flag_of_Aruba.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b4/Flag_of_Anguilla.svg/23px-Flag_of_Anguilla.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/89/Flag_of_Antigua_and_Barbuda.svg/23px-Flag_of_Antigua_and_Barbuda.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Flag_of_the_Bahamas.svg/23px-Flag_of_the_Bahamas.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/ef/Flag_of_Barbados.svg/23px-Flag_of_Barbados.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Flag_of_Bermuda.svg/23px-Flag_of_Bermuda.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/e7/Flag_of_Belize.svg/23px-Flag_of_Belize.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/4/42/Flag_of_the_British_Virgin_Islands.svg/23px-Flag_of_the_British_Virgin_Islands.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Flag_of_the_Cayman_Islands.svg/23px-Flag_of_the_Cayman_Islands.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Flag_of_Cuba.svg/23px-Flag_of_Cuba.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Flag_of_Cura%C3%A7ao.svg/23px-Flag_of_Cura%C3%A7ao.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Flag_of_Canada_%28Pantone%29.svg/23px-Flag_of_Canada_%28Pantone%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Flag_of_Dominica.svg/23px-Flag_of_Dominica.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Flag_of_Greenland.svg/23px-Flag_of_Greenland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Flag_of_Grenada.svg/23px-Flag_of_Grenada.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Flag_of_Haiti.svg/23px-Flag_of_Haiti.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/0a/Flag_of_Jamaica.svg/23px-Flag_of_Jamaica.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d0/Flag_of_Montserrat.svg/23px-Flag_of_Montserrat.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/fe/Flag_of_Saint_Kitts_and_Nevis.svg/23px-Flag_of_Saint_Kitts_and_Nevis.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Flag_of_Saint_Lucia.svg/23px-Flag_of_Saint_Lucia.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6d/Flag_of_Saint_Vincent_and_the_Grenadines.svg/23px-Flag_of_Saint_Vincent_and_the_Grenadines.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/64/Flag_of_Trinidad_and_Tobago.svg/23px-Flag_of_Trinidad_and_Tobago.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/23px-Flag_of_the_United_States.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Flag_of_Guyana.svg/23px-Flag_of_Guyana.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cf/Flag_of_Peru.svg/23px-Flag_of_Peru.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/88/Flag_of_Australia_%28converted%29.svg/23px-Flag_of_Australia_%28converted%29.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Flag_of_the_Cook_Islands.svg/23px-Flag_of_the_Cook_Islands.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Flag_of_Fiji.svg/23px-Flag_of_Fiji.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/30/Flag_of_Nauru.svg/23px-Flag_of_Nauru.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/3e/Flag_of_New_Zealand.svg/23px-Flag_of_New_Zealand.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/0/01/Flag_of_Niue.svg/23px-Flag_of_Niue.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/e/e3/Flag_of_Papua_New_Guinea.svg/20px-Flag_of_Papua_New_Guinea.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Flag_of_Samoa.svg/23px-Flag_of_Samoa.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/7/74/Flag_of_the_Solomon_Islands.svg/23px-Flag_of_the_Solomon_Islands.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Flag_of_Tonga.svg/23px-Flag_of_Tonga.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Flag_of_Tuvalu.svg/23px-Flag_of_Tuvalu.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/b/bc/Flag_of_Vanuatu.svg/23px-Flag_of_Vanuatu.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2f/Flag_of_the_United_Nations.svg/23px-Flag_of_the_United_Nations.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Emblem_of_Israel.svg/40px-Emblem_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Beth_Sholom.jpg/151px-Beth_Sholom.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Melrose_RR_Station_02.JPG/151px-Melrose_RR_Station_02.JPG",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/29/Wall_House.jpg/151px-Wall_House.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/f/f7/Wycote_homes.JPG/151px-Wycote_homes.JPG",
"https://upload.wikimedia.org/wikipedia/en/thumb/1/12/Flag_of_Poland.svg/15px-Flag_of_Poland.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Flag_of_Romania_%281965%E2%80%931989%29.svg/15px-Flag_of_Romania_%281965%E2%80%931989%29.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/6/69/P_vip.svg/19px-P_vip.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d4/Flag_of_Israel.svg/21px-Flag_of_Israel.svg.png",
"https://upload.wikimedia.org/wikipedia/commons/thumb/9/9a/Klepsydra-pt.svg/17px-Klepsydra-pt.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/0/01/A_coloured_voting_box.svg/19px-A_coloured_voting_box.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2002-06-13T03:45:37+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Benjamin_Netanyahu
|
Prime Minister of Israel (1996–1999, 2009–2021, 2022–present)
"Netanyahu" redirects here. For his brother, see Yonatan Netanyahu. For other people with this name, see Netanyahu (surname).
Benjamin "Bibi" Netanyahu[a] (born 21 October 1949) is an Israeli politician, serving as the prime minister of Israel since 2022, having previously held the office in 1996–1999 and 2009–2021.[3] He is chair of the Likud party. Netanyahu is the longest-serving prime minister in Israel's history, having served a total of over 16 years.[4][5]
Born to secular Jewish parents, Netanyahu was raised in West Jerusalem and the United States. He returned to Israel in 1967 to join the Israel Defense Forces and served in the Sayeret Matkal special forces as a captain before being honorably discharged. After graduating from the Massachusetts Institute of Technology, Netanyahu worked for the Boston Consulting Group and moved back to Israel in 1978 to found the Yonatan Netanyahu Anti-Terror Institute. Between 1984–1988 Netanyahu was Israel's ambassador to the United Nations. Netanyahu rose to prominence after election as chair of Likud in 1993, becoming leader of the opposition. In the 1996 general election, Netanyahu became the first Israeli prime minister elected directly by popular vote, and its youngest. Netanyahu was defeated in the 1999 election and retired from politics, entering the private sector. He returned and served as minister of foreign affairs and finance, initiating economic reforms,[6][7] before resigning over the Gaza disengagement plan.
Netanyahu returned to lead Likud in 2005[8] and was leader of the opposition between 2006–2009. After the 2009 legislative election, Netanyahu formed a coalition with other right-wing parties and became prime minister again.[9][10][11] He led Likud to victory in the 2013 and 2015 elections.[12] Netanyahu made his closeness to Donald Trump, a friend since the 1980s, central to his appeal from 2016.[13] During Trump's presidency, the US recognized Jerusalem as capital of Israel, Israeli sovereignty over the Golan Heights, and brokered the Abraham Accords, normalization agreements between Israel and the Arab world. Netanyahu has faced criticism over expanding Israeli settlements in the occupied West Bank, deemed illegal under international law.[14] In 2019, Netanyahu was indicted on charges of breach of trust, bribery and fraud,[15] and relinquished all ministerial posts, except prime minister.[16][17] The 2018–2022 Israeli political crisis led to a rotation agreement between Netanyahu and Benny Gantz.[18][19] This collapsed in 2020, leading to a March 2021 election. In June 2021, Netanyahu was removed from the premiership, before returning after the 2022 election.
Netanyahu's coalition pursued judicial reform, which was met with protests in early 2023. In October 2023, Israel suffered a large-scale attack by Hamas-led Palestinian groups, triggering the Israel–Hamas war. Due to a failure to anticipate the attack, Netanyahu has been criticized for presiding over Israel's biggest intelligence failure in 50 years,[20][21][22] and has faced protests calling for his removal.[23][24] Netanyahu's government has been accused of genocide,[25][26][27] culminating in the South Africa v. Israel case before the International Court of Justice in December 2023.[28][29] In May 2024, Karim Khan, the prosecutor of the International Criminal Court, announced his intention to apply for an arrest warrant for Netanyahu, and other members of his cabinet, for war crimes and crimes against humanity, as part of the ICC investigation in Palestine.[30][31][32]
Early life and military career
Netanyahu was born in 1949 in Tel Aviv.[33][34] His mother, Tzila Segal (1912–2000), was born in Petah Tikva in the Ottoman Empire's Mutasarrifate of Jerusalem, and his father, Warsaw-born Benzion Netanyahu (né Mileikowsky; 1910–2012), was a historian specializing in the Jewish Golden age of Spain. His paternal grandfather, Nathan Mileikowsky, was a rabbi and Zionist writer. When Netanyahu's father immigrated to Mandatory Palestine, he hebraized his surname from "Mileikowsky" to "Netanyahu", meaning "God has given." While his family is predominantly Ashkenazi, he has said that a DNA test revealed him to have some Sephardic ancestry. He claims descent from the Vilna Gaon.[35][36]
Netanyahu was the second of three children. He was initially raised and educated in Jerusalem, where he attended Henrietta Szold Elementary School. A copy of his evaluation from his 6th grade teacher Ruth Rubenstein indicated that Netanyahu was courteous, polite, and helpful; that he was "responsible and punctual"; and that he was friendly, disciplined, cheerful, brave, active, and obedient.[37]
Between 1956 and 1958, and again from 1963 to 1967,[38] his family lived in the United States in Cheltenham Township, Pennsylvania, a suburb of Philadelphia, while father Benzion Netanyahu taught at Dropsie College.[39] Benjamin attended and graduated from Cheltenham High School and was active in the debate club, chess club, and soccer.[39] He and his brother Yonatan grew dissatisfied with what they saw as the superficial way of life they encountered in the area, including the prevalent youth counterculture movement and the liberal sensibilities of the Reform synagogue, Temple Judea of Philadelphia, that the family attended.[39]
After graduating from high school in 1967, Netanyahu returned to Israel to enlist in the Israel Defense Forces. He trained as a combat soldier and served for five years in a special forces unit of the IDF, Sayeret Matkal. He took part in numerous cross-border raids during the 1967–70 War of Attrition, including the March 1968 Battle of Karameh, when the IDF attacked Jordan to capture PLO leader Yasser Arafat but were repulsed with heavy casualties,[41][42] rising to become a team-leader in the unit. He was wounded in combat on multiple occasions.[43] He was involved in many other missions, including the 1968 Israeli raid on Lebanon and the rescue of the hijacked Sabena Flight 571 in May 1972, in which he was shot in the shoulder.[44][45] He was discharged from active service in 1972 but remained in the Sayeret Matkal reserves. Following his discharge, he left to study in the United States but returned in October 1973 to serve in the Yom Kippur War.[40][46] He took part in special forces raids along the Suez Canal against Egyptian forces before leading a commando attack deep inside Syrian territory, the details of which remain classified today.[47]
Education
Netanyahu returned to the United States in late 1972 to study architecture at the Massachusetts Institute of Technology (MIT). After briefly returning to Israel to fight in the Yom Kippur War, he returned to the United States and, under the name Ben Nitay, completed a bachelor's degree[48] in architecture[49] in February 1975 and earned a master's degree[48] from the MIT Sloan School of Management in June 1976. Concurrently, he was studying towards a doctorate[46] in political science,[50][51] until his studies were broken off by the death of his brother in the Entebbe raid.[46]
At MIT, Netanyahu studied a double-load while simultaneously taking courses at Harvard University, completing a master's degree in two and a half years, despite taking a break to fight in the Yom Kippur War. Professor Leon B. Groisser at MIT recalled: "He did superbly. He was very bright. Organized. Strong. Powerful. He knew what he wanted to do and how to get it done."[46]
At that time he changed his name to Benjamin "Ben" Nitai (Nitai, a reference to both Mount Nitai and to the eponymous Jewish sage Nittai of Arbela, was a pen name often used by his father for articles).[52] Years later, in an interview with the media, Netanyahu clarified that he decided to do so to make it easier for Americans to pronounce his name. This fact has been used by his political rivals to accuse him indirectly of a lack of Israeli national identity and loyalty.[53]
In 1976, Netanyahu's older brother Yonatan Netanyahu was killed. Yonatan was serving as the commander of Benjamin's former unit, the Sayeret Matkal, and died during the counter-terrorism hostage-rescue mission Operation Thunderbolt in which his unit rescued more than 100 mostly Israeli hostages hijacked by terrorists and flown to the Entebbe Airport in Uganda.
In 1976, Netanyahu graduated near the top of his class at the MIT Sloan School of Management.[54]
Early career
Netanyahu was headhunted to be an economic consultant[55] for the Boston Consulting Group in Boston, Massachusetts, working at the company between 1976 and 1978. At the Boston Consulting Group, he was a colleague of Mitt Romney, with whom he formed a lasting friendship. Romney described Netanyahu at the time as "a strong personality with a distinct point of view", and said, "We can almost speak in shorthand ... [w]e share common experiences and have a perspective and underpinning which is similar."[54] Netanyahu said that their "easy communication" was a result of "B.C.G.'s intellectually rigorous boot camp".[54]
In 1978, Netanyahu appeared on Boston local television, under the name "Ben Nitai", where he argued: "The real core of the conflict is the unfortunate Arab refusal to accept the State of Israel ... For 20 years the Arabs had both the West Bank and the Gaza Strip, and if self-determination, as they now say, is the core of the conflict, they could have easily established a Palestinian state."[56]
In 1978, Netanyahu returned to Israel. Between 1978 and 1980, he ran the Jonathan Netanyahu Anti-Terror Institute,[38] a non-governmental organization devoted to the study of terrorism; the Institute held a number of international conferences focused on the discussion of international terrorism. From 1980 to 1982, he was director of marketing for Rim Industries in Jerusalem.[57] During this period Netanyahu made his first connections with several Israeli politicians, including Minister Moshe Arens.
Arens appointed him as his Deputy Chief of Mission at the Israeli Embassy in Washington, D.C. while Arens was ambassador to the United States, a position he held from 1982 until 1984.[58] During the 1982 Lebanon War, he was called up for reserve duty in Sayeret Matkal and requested to be released from service, preferring to remain in the US and serve as a spokesperson for Israel in the wake of harsh international criticism of the war. He presented Israel's case to the media during the war and established a highly efficient public relations system in the Israeli embassy.[59] Between 1984 and 1988, Netanyahu served as the Israeli ambassador to the United Nations.[58] Netanyahu was influenced by Rabbi Menachem M. Schneerson, with whom he formed a relationship during the 1980s. He referred to Schneerson as "the most influential man of our time".[60][61][62] At this time Netanyahu became friends with Fred Trump, the father of future U.S. President Donald Trump.[63]
Leader of the Opposition (1993–1996)
Prior to the 1988 Israeli legislative election, Netanyahu returned to Israel and joined the Likud party. In the Likud's internal elections, Netanyahu was placed fifth on the party list. Later on he was elected as a Knesset member of the 12th Knesset, and was appointed as a deputy of the foreign minister Moshe Arens, and later on David Levy. Netanyahu and Levy did not cooperate and the rivalry between the two only intensified afterwards. During the Gulf War in early 1991, the English-fluent Netanyahu emerged as the principal spokesman for Israel in media interviews on CNN and other news outlets. During the Madrid Conference of 1991 Netanyahu was a member of the Israeli delegation headed by Prime Minister Yitzhak Shamir. After the Madrid Conference Netanyahu was appointed as Deputy Minister in the Israeli Prime Minister's Office.[58]
Following the defeat of the Likud party in the 1992 Israeli legislative elections the Likud party held a party leadership election in 1993, and Netanyahu was victorious, defeating Benny Begin, son of the late prime minister Menachem Begin, and veteran politician David Levy[64] (Sharon initially sought Likud party leadership as well, but quickly withdrew when it was evident that he was attracting minimal support). Shamir retired from politics shortly after the Likud's defeat in the 1992 elections.[65]
Following the assassination of Yitzhak Rabin at the end of a rally in support of the Oslo Accords, Rabin's temporary successor Shimon Peres decided to call early elections in order to give the government a mandate to advance the peace process.[66] Netanyahu was the Likud's candidate for prime minister in the 1996 Israeli legislative election which took place on 29 May 1996 and were the first Israeli elections in which Israelis elected their prime minister directly.[67] Netanyahu hired American Republican political operative Arthur Finkelstein to run his campaign,[68] and although the American style of sound bites and sharp attacks elicited harsh criticism,[citation needed] Netanyahu won the 1996 election, becoming the youngest person in the history of the position and the first Israeli prime minister to be born in the State of Israel (Yitzhak Rabin was born in Jerusalem, under the British Mandate of Palestine, prior to the 1948 founding of the Israeli state).[67]
Netanyahu's victory over the pre-election favorite Shimon Peres surprised many. The main catalyst in the downfall of the latter was a wave of suicide bombings shortly before the elections; on 3 and 4 March 1996, Palestinians carried out two suicide bombings, killing 32 Israelis, with Peres seemingly unable to stop the attacks. During the campaign, Netanyahu stressed that progress in the peace process would be based on the Palestinian National Authority fulfilling its obligations–mainly fighting terrorism—and the Likud campaign slogan was, "Netanyahu – making a safe peace". However, although Netanyahu won the election for prime minister, Peres's Israeli Labor Party received more seats in the Knesset elections. Netanyahu had to rely on a coalition with the ultra-Orthodox parties, Shas and UTJ in order to form a government.[citation needed]
Prime minister (1996–1999)
First term
Further information: Twenty-seventh government of Israel
A spate of suicide bombings reinforced the Likud position for security. Hamas claimed responsibility for most of the bombings. As prime minister, Netanyahu raised many questions about many central premises of the Oslo Accords. One of his main points was disagreement with the Oslo premise that the negotiations should proceed in stages, meaning that concessions should be made to Palestinians before any resolution was reached on major issues, such as the status of Jerusalem, and the amending of the Palestinian National Charter. Oslo supporters had claimed that the multi-stage approach would build goodwill among Palestinians and would propel them to seek reconciliation when these major issues were raised in later stages. Netanyahu said that these concessions only gave encouragement to extremist elements, without receiving any tangible gestures in return. He called for tangible gestures of Palestinian goodwill in return for Israeli concessions. Despite his stated differences with the Oslo Accords, Prime Minister Netanyahu continued their implementation, but his Premiership saw a marked slow-down in the peace process.[citation needed]
In 1996, Netanyahu and Jerusalem's mayor Ehud Olmert decided to open an exit in the Arab Quarter for the Western Wall Tunnel, which prior prime minister Shimon Peres had instructed to be put on hold for the sake of peace.[69] This sparked three days of rioting by Palestinians, resulting in dozens of both Israelis and Palestinians being killed.[70]
Netanyahu first met Palestinian President Arafat on 4 September 1996. Prior to the meeting, the two leaders spoke by telephone.[71] The meetings would continue through Autumn 1996. On their first meeting, Netanyahu said: "I would like to emphasize that we have to take into account the needs and the requirements of both sides on the basis of reciprocity and the assurance of the security and well-being of both Israelis and Palestinian alike." Arafat said: "We are determined to work with Mr. Netanyahu and with his government."[72] The talks culminated on 14 January 1997, in the signing of the Hebron Protocol.[73] The signing of the Hebron Protocol with the Palestinian Authority resulted in the redeployment of Israeli forces in Hebron and the turnover of civilian authority in much of the area to the control of the Palestinian Authority.
Eventually, the lack of progress of the peace process led to new negotiations which produced the Wye River Memorandum in 1998 which detailed the steps to be taken by the Israeli government and Palestinian Authority to implement the earlier Interim Agreement of 1995. It was signed by Netanyahu and PLO chairman Yasser Arafat, and on 17 November 1998, Israel's 120 member parliament, the Knesset, approved the Wye River Memorandum by a vote of 75–19. In a nod to the 1967 Khartoum conference, Prime Minister Netanyahu emphasized a policy of "three no(s)": no withdrawal from the Golan Heights, no discussion of the case of Jerusalem, no negotiations under any preconditions.[74]
In 1997, Netanyahu authorized a Mossad operation to assassinate Hamas leader Khaled Mashal in Jordan, just three years after the two countries had signed a peace treaty.[75] The Mossad team, covering as five Canadian tourists, entered Jordan on 27 September 1997 and injected poison into Mashal's ears in a street in Amman.[75] The plot was exposed and two agents were arrested by the Jordanian police while three others hid in the Israeli embassy which was then surrounded by troops.[75] An angry King Hussein demanded Israel to give out the antidote and threatened to annul the peace treaty.[76] Netanyahu relented to the demands after pressure by US President Bill Clinton and ordered the release of 61 Jordanian and Palestinian prisoners including Sheikh Ahmad Yassin.[75] The incident sent the nascent Israeli-Jordanian relations plummeting.[76]
During his term, Netanyahu also began a process of economic liberalization, taking steps towards a free-market economy. Under his watch, the government began selling its shares in banks and major state-run companies. Netanyahu also greatly eased Israel's strict foreign exchange controls, enabling Israelis to take an unrestricted amount of money out of the country, open foreign bank accounts, hold foreign currency, and invest freely in other countries.[77][78]
Throughout his term, Netanyahu was opposed by the political left wing in Israel and lost support from the right because of his concessions to the Palestinians in Hebron and elsewhere, and due to his negotiations with Arafat generally. Netanyahu lost favor with the Israeli public after a long chain of scandals involving his marriage and corruption charges. In 1997, police recommended that Netanyahu be indicted on corruption charges for influence-peddling. He was accused of appointing an attorney general who would reduce the charges but prosecutors ruled that there was insufficient evidence to go to trial.[79] In 1999, Netanyahu faced another scandal when the Israel Police recommended that he be tried for corruption for $100,000 in free services from a government contractor; Israel's attorney general did not prosecute, citing difficulties with evidence.[80]
Election defeat
After being defeated by Ehud Barak in the 1999 Israeli prime ministerial election, Netanyahu temporarily retired from politics.[81] He subsequently served as a senior consultant with Israeli communications equipment manufacturer BATM Advanced Communications for two years.[82][83]
With the fall of the Barak government in late 2000, Netanyahu expressed his desire to return to politics. By law, Barak's resignation was supposed to lead to elections for the prime minister position only. Netanyahu insisted that general elections should be held, claiming that otherwise it would be impossible to have a stable government. Netanyahu decided eventually not to run for the prime minister position, a move which facilitated the surprising rise to power of Ariel Sharon, who at the time was considered less popular than Netanyahu. In 2002, after the Israeli Labor Party left the coalition and vacated the position of foreign minister, Prime Minister Ariel Sharon appointed Netanyahu as foreign minister.[58] Netanyahu challenged Sharon for the leadership of the Likud party in the 2002 Likud leadership election, but failed to oust him.[84]
On 9 September 2002, a scheduled speech by Netanyahu at Concordia University in Montreal, Quebec, Canada was canceled after hundreds of pro-Palestinian protesters overwhelmed security and smashed through a glass window. Netanyahu was not present at the protest, having remained at his hotel throughout the duration. He later accused the activists of supporting terrorism and "mad zealotry".[85] Weeks later on 1 October 2002 around 200 protesters met Netanyahu outside his Heinz Hall appearance in Pittsburgh although Pittsburgh Police, Israeli security and a Pittsburgh SWAT unit allowed his speeches to continue downtown at the hall and the Duquesne Club as well as suburban Robert Morris University.[86]
On 12 September 2002, Netanyahu testified (under oath as a private citizen) before the U.S. House of Representatives Committee on Oversight and Government Reform regarding the nuclear threat posed by the Iraqi régime: "There is no question whatsoever that Saddam is seeking and is working and is advancing towards the development of nuclear weapons – no question whatsoever", he said. "And there is no question that once he acquires it, history shifts immediately."[87] In his testimony, Netanyahu also said, "If you take out Saddam, Saddam's regime, I guarantee you that it will have enormous positive reverberations on the region."[88]
Minister of Finance (2003–2005)
After the 2003 Israeli legislative election, in what many observers regarded as a surprise move, Sharon offered the Foreign Ministry to Silvan Shalom and offered Netanyahu the Finance Ministry. Some pundits speculated that Sharon made the move because he deemed Netanyahu a political threat given his demonstrated effectiveness as foreign minister, and that by placing him in the Finance Ministry during a time of economic uncertainty, he could diminish Netanyahu's popularity. Netanyahu accepted the new appointment. Sharon and Netanyahu came to an agreement that Netanyahu would have complete freedom as finance minister and have Sharon back all of his reforms, in exchange for Netanyahu's silence over Sharon's management of Israel's military and foreign affairs.[89]
As finance minister, Netanyahu undertook an economic plan in order to restore Israel's economy from its low point during the Second Intifada. Netanyahu claimed that a bloated public sector and excessive regulations were largely responsible for stifling economic growth. His plan involved a move toward more liberalized markets, although it was not without its critics. He instituted a program to end welfare dependency by requiring people to apply for jobs or training, reduced the size of the public sector, froze government spending for three years, and capped the budget deficit at 1%. The taxation system was streamlined and taxes were cut, with the top individual tax rate reduced from 64% to 44% and the corporate tax rate from 36% to 18%. A host of state assets worth billions of dollars were privatized, including banks, oil refineries, the El Al national airline, and Zim Integrated Shipping Services. The retirement ages for both men and women were raised, and currency exchange laws were further liberalized. Commercial banks were forced to spin off their long-term savings. In addition, Netanyahu attacked monopolies and cartels to increase competition. As the Israeli economy started booming and unemployment fell significantly, Netanyahu was widely credited by commentators as having performed an 'economic miracle' by the end of his tenure.[89][90][91]
However, opponents in the Labor party (and even a few within his own Likud) viewed Netanyahu's policies as "Thatcherite" attacks on the venerated Israeli social safety net.[92] Ultimately, unemployment declined while economic growth soared, the debt-to-GDP ratio dropped to one of the lowest in the world, and foreign investment reached record highs.[89]
Netanyahu threatened to resign from office in 2004 unless the Gaza pullout plan was put to a referendum. He later modified the ultimatum and voted for the program in the Knesset, indicating immediately thereafter that he would resign unless a referendum was held within 14 days.[93] He submitted his resignation letter on 7 August 2005, shortly before the Israeli cabinet voted 17 to 5 to approve the initial phase of withdrawal from Gaza.[94]
Leader of the Opposition (2006–2009)
Following the withdrawal of Sharon from the Likud, Netanyahu was one of several candidates who vied for the Likud leadership. His most recent attempt prior to this was in September 2005 when he had tried to hold early primaries for the position of the head of the Likud party, while the party held the office of prime minister – thus effectively pushing Ariel Sharon out of office. The party rejected this initiative. Netanyahu retook the leadership on 20 December 2005, with 47% of the primary vote, to 32% for Silvan Shalom and 15% for Moshe Feiglin.[8] In the March 2006 Knesset elections, Likud took the third place behind Kadima and Labor and Netanyahu served as Leader of the Opposition.[95] On 14 August 2007, Netanyahu was reelected as chairman of the Likud and its candidate for the post of prime minister with 73% of the vote, against far-right candidate Moshe Feiglin and World Likud chairman Danny Danon.[96] He opposed the 2008 Israel–Hamas ceasefire, like others in the Knesset opposition. Specifically, Netanyahu said: "This is not a relaxation, it's an Israeli agreement to the rearming of Hamas ... What are we getting for this?"[97]
In the first half of 2008, doctors removed a small colon polyp that proved to be benign.[98]
Following Tzipi Livni's election to head Kadima and Olmert's resignation from the post of prime minister, Netanyahu declined to join the coalition Livni was trying to form and supported new elections, which were held in February 2009.[99][100] Netanyahu was the Likud's candidate for prime minister in the 2009 Israeli legislative election which took place on 10 February 2009, as Livni, the previous designated acting prime minister under the Olmert government, had been unable to form a viable governing coalition. Opinion polls showed Likud in the lead, but with as many as a third of Israeli voters undecided.[101]
In the election itself, Likud won the second highest number of seats, Livni's party having outnumbered the Likud by one seat. A possible explanation for Likud's relatively poor showing is that some Likud supporters defected to Avigdor Lieberman's Yisrael Beiteinu party. Netanyahu, however, claimed victory on the basis that right-wing parties won the majority of the vote, and on 20 February 2009, Netanyahu was designated by Israeli President Shimon Peres to succeed Ehud Olmert as prime minister, and began his negotiations to form a coalition government.[citation needed]
Despite right wing parties winning a majority of 65 seats in the Knesset, Netanyahu preferred a broader centrist coalition and turned to his Kadima rivals, chaired by Tzipi Livni, to join his government. This time it was Livni's turn to decline to join, with a difference of opinion on how to pursue the peace process being the stumbling block. Netanyahu did manage to entice a smaller rival, the Labour party, chaired by Ehud Barak, to join his government, giving him a certain amount of centrist tone. Netanyahu presented his cabinet for a Knesset "Vote of Confidence" on 31 March 2009. The 32nd Government was approved that day by a majority of 69 lawmakers to 45 (with five abstaining) and the members were sworn in.[10][11]
Prime minister (2009–2021)
Second term
Further information: Thirty-second government of Israel
In 2009, US Secretary of State Hillary Clinton voiced support for the establishment of a Palestinian state – a solution not endorsed by prime minister-designate Benjamin Netanyahu,[102] with whom she had earlier pledged the United States' cooperation.[103] Upon the arrival of President Obama administration's special envoy, George Mitchell, Netanyahu said that any furtherance of negotiations with the Palestinians would be conditioned on the Palestinians recognizing Israel as a Jewish state.[104]
During President Obama's Cairo speech on 4 June 2009 in which Obama addressed the Muslim world, Obama stated, among other things, "The United States does not accept the legitimacy of continued Israeli settlements." Following Obama's Cairo speech Netanyahu immediately called a special government meeting. On 14 June, ten days after Obama's Cairo speech, Netanyahu gave a speech at Bar-Ilan University in which he endorsed a "Demilitarized Palestinian State", though said that Jerusalem must remain the unified capital of Israel.[105] Netanyahu stated that he would accept a Palestinian state if Jerusalem were to remain the united capital of Israel, the Palestinians would have no army, and the Palestinians would give up their demand for a right of return. He also argued the right for a "natural growth" in the existing Jewish settlements in the West Bank while their permanent status is up to further negotiation. Senior Palestinian official Saeb Erekat said that the speech had "closed the door to permanent status negotiations" due to Netanyahu's declarations on Jerusalem, refugees and settlements.[106]
Three months after starting his term, Netanyahu remarked that his cabinet already had achieved several notable successes, such as the establishment of a working national unity government, and a broad consensus for a "two-state solution".[107] A July 2009 survey by Ha'aretz found that most Israelis supported the Netanyahu government, giving him a personal approval rating of about 49 percent.[108] Netanyahu has lifted checkpoints in the West Bank in order to allow freedom of movement and a flow of imports; a step that resulted in an economic boost in the West Bank.[109][110][111] In 2009, Netanyahu welcomed the Arab Peace initiative (also known as the "Saudi Peace Initiative") and lauded a call by Bahrain's Crown Prince Salman bin Hamad bin Isa Al Khalifa to normalize relations with Israel.[112][113]
In August 2009, Palestinian Authority chairman Mahmoud Abbas declared that he would be willing to meet with Prime Minister Netanyahu at the UN General Assembly, where Netanyahu had accepted president Obama's invitation for a "triple summit", although he said it would not necessarily lead to negotiations.[114] Netanyahu was reported to be in a pivotal moment over these understandings, that were reported to include a compromise over permission on continuing the already approved construction in the West Bank in exchange for freezing all settlements thereafter, as well as continuing building in East Jerusalem, and at the same time stopping the demolition of houses of Arab inhabitants there.[115] On 4 September 2009, it was reported that Netanyahu was to agree to settlers' political demands to approve more settlement constructions before a temporary settlement freeze agreement took place.[116] White House spokesman Robert Gibbs expressed "regret" over the move;[117] however, one U.S. official said the move will not "derail [the] train".[118]
On 7 September 2009, Netanyahu left his office without reporting where he was headed. The prime minister's military secretary, Maj. Gen. Meir Kalifi, later reported Netanyahu had visited a security facility in Israel.[119] Several different news agencies reported several different stories about where he was.[120] On 9 September 2009, Yedioth Ahronoth reported that the Israeli leader had made a secret flight to Moscow to try to persuade Russian officials not to sell S-300 anti-aircraft missile systems to Iran.[119][121][122] Headlines branded Netanyahu a "liar" and dubbed the affair a "fiasco".[123][124] It was later reported that the PM's military secretary would be dismissed due to the affair.[125] The Sunday Times reported that the trip was made to share the names of Russian scientists that Israel believes are abetting the alleged Iranian nuclear weapons program.[126]
On 24 September 2009, in an address to the United Nations General Assembly in New York, Netanyahu said Iran poses a threat to the peace of the world and that it is incumbent on the world body to prevent the Islamic Republic from obtaining nuclear weapons.[127][128] Waving the blueprints for Auschwitz and invoking the memory of his own family members murdered by the Nazis, Netanyahu delivered a passionate and public riposte to Iranian president Mahmoud Ahmadinejad's questioning of the Holocaust, asking: "Have you no shame?"[129]
In response to pressure from the Obama administration urging the sides to resume peace talks, on 25 November 2009 Netanyahu announced a partial 10-month settlement construction freeze plan. The announced partial freeze had no significant effect on actual settlement construction, according to an analysis by the major Israeli daily Haaretz.[130] U.S. special envoy George Mitchell said, "while the United States shares Arab concerns about the limitations of Israel's gesture, it is more than any Israeli government has ever done".[131] In his announcement Netanyahu called the move "a painful step that will encourage the peace process" and urged the Palestinians to respond.[132] The Palestinians rejected the call, stating the gesture was "insignificant" in that thousands of recently approved settlement buildings in the West Bank would continue to be built and there would be no freeze of settlement activity in East Jerusalem.[133]
In March 2010, Israel's government approved construction of an additional 1,600 apartments in a large Jewish housing development in northern East Jerusalem called Ramat Shlomo[134] despite the position of the current U.S. Government that acts such as this thwart the peace talks between Israel and the Palestinians. The Israeli government's announcement occurred during a visit by U.S. Vice-president Joe Biden and the U.S. government subsequently issued a strongly worded condemnation of the plan.[135] Netanyahu subsequently issued a statement that all previous Israeli governments had continuously permitted construction in the neighborhood, and that certain neighborhoods such as Ramat Shlomo and Gilo have always been included as part of Israel in any final agreement plan that has been proposed by either side to date.[134] Netanyahu regretted the timing of the announcement but asserted that "our policy on Jerusalem is the same policy followed by all Israeli governments for the 42 years, and it has not changed."[136]
In September 2010, Netanyahu agreed to enter direct talks, mediated by the Obama administration, with the Palestinians for the first time in a long while.[137] The ultimate aim of these direct talks is to forge the framework of an official "final status settlement" to the Israeli–Palestinian conflict by forming a two-state solution for the Jewish people and the Palestinian people. On 27 September, the 10-month settlement freeze ended, and the Israeli government approved new construction in the West Bank, including East Jerusalem.[138] On retiring from office in July 2011, former U.S. Secretary of Defense Robert Gates had said that Netanyahu was ungrateful to the United States and endangering Israel. Responding, the Likud party defended Netanyahu by saying that most Israelis supported the Prime Minister and that he had broad support in the United States.[139][140]
Netanyahu unsuccessfully called for the early release of Jonathan Pollard, an American serving a life sentence for passing secret U.S. documents to Israel in 1987.[141] He has raised the issue at the Wye River Summit in 1998, where he claimed that U.S. President Bill Clinton had privately agreed to release Pollard.[142][143] In 2002, Netanyahu visited Pollard at his North Carolina prison.[144][145] The Israeli prime minister maintained contact with Pollard's wife, and was active in pressing the Obama administration to release Pollard.[146][147]
In 2011, social justice protests broke out across Israel. Hundreds of thousands of people protested Israel's high cost of living throughout the country. In response, Netanyahu appointed the Trajtenberg Committee, headed by professor Manuel Trajtenberg, to examine the problems and propose solutions. The committee submitted recommendations to lower the high cost of living in September 2011.[148] Although Netanyahu promised to push the proposed reforms through the cabinet in one piece, differences inside his coalition resulted in the reforms being gradually adopted.[149][150]
Netanyahu's cabinet also approved a plan to build a fiber-optic cable network across the country to bring cheap, high-speed fiber-optic Internet access to every home.[151][152]
In 2012, Netanyahu initially planned to call early elections, but subsequently oversaw the creation of a controversial government of national unity to see Israel through until the national elections of 2013.[153] In May 2012, Netanyahu officially recognized for the first time the right for Palestinians to have their own state in an official document, a letter to Mahmoud Abbas, though as before[105] he declared it would have to be demilitarized.[154] On 25 October 2012, Netanyahu and Foreign Minister Avigdor Lieberman announced that their respective political parties, Likud and Yisrael Beiteinu, had merged and would run together on a single ballot in Israel's 22 January 2013 general elections.[155]
Third term
Further information: Thirty-third government of Israel
The 2013 election returned Netanyahu's Likud Beiteinu coalition with 11 fewer seats than the combined Likud and Yisrael Beiteinu parties had going into the vote. Nevertheless, as leader of what remained the largest faction in the Knesset, Israeli president Shimon Peres charged Netanyahu with the task of forming the Thirty-third government of Israel. The new coalition included the Yesh Atid, The Jewish Home and Hatnuah parties and excludes the ultra-Orthodox parties at the insistence of Yesh Atid and the Jewish Home.
During Netanyahu's third term, he continued his policy of economic liberalization. In December 2013, the Knesset approved the Business Concentration Law, which intended to open Israel's highly concentrated economy to competition to lower consumer prices, reduce income inequality, and increase economic growth. Netanyahu had formed the Concentration Committee in 2010, and the bill, which was pushed forward by his government, implemented its recommendations. The new law banned multi-tiered corporate holding structures, in which a CEO's family members or other affiliated individuals held public companies which in turn owned other public companies, and who were thus able to engage in price gouging. Under the law, corporations were banned from owning more than two tiers of publicly listed companies and from holding both financial and non-financial enterprises. All conglomerates were given four to six years to sell excess holdings.[156][157] Netanyahu also began a campaign of port privatization to break what he viewed as the monopoly held by workers of the Israel Port Authority, so as to lower consumer prices and increase exports. In July 2013, he issued tenders for the construction of private ports in Haifa and Ashdod.[158] Netanyahu has also pledged to curb excess bureaucracy and regulations to ease the burden on industry.[159]
In April 2014, and again in June, Netanyahu spoke of his deep concerns when Hamas and the Palestinian Authority agreed and then formed a unity government, and was severely critical of both the United States and European governments' decision to work with the Palestinian coalition government.[160] He blamed Hamas for the kidnapping and murder of three Israeli teenagers in June 2014,[161] and launched a massive search and arrest operation on the West Bank, targeting members of Hamas in particular, and over the following weeks hit 60 targets in Gaza.[162] Missile and rocket exchanges between Gaza militants and the IDF escalated after the bodies of the teenagers, who had been killed almost immediately as the government had good reasons to suspect, were discovered on 30 June 2014.[163] After several Hamas operatives were killed, either in an explosion or from an Israeli bombing, Hamas officially declared it would launch rockets from Gaza into Israel,[162][164] and Israel started Operation Protective Edge in the Gaza Strip, formally ending the November 2012 ceasefire agreement.[165] The prime minister did a round of television shows in the United States and described Hamas as "genocidal terrorists" in an interview on CNN.[166] When asked if Gazan casualties from the operation might spark "a third intifada", Netanyahu replied that Hamas was working towards that goal.[167]
In October 2014, Netanyahu's government approved a privatization plan to reduce corruption and politicization in government companies, and strengthen Israel's capital market. Under the plan, minority stakes of up to 49% in state-owned companies, including arms manufacturers, energy, postal, water, and railway companies, as well as the ports of Haifa and Ashdod.[168] That same month, Netanyahu called criticism of settlements "against the American values", a remark that earned him a sharp rebuke from the White House Press Secretary Josh Earnest, who noted that American values had resulted in Israel receiving not only consistent funding but protective technology such as Iron Dome. Netanyahu explained that he does not accept restrictions on where Jews could live, and said that Jerusalem's Arabs and Jews should be able to buy homes wherever they want. He said he was "baffled" by the American condemnation. "It's against the American values. And it doesn't bode well for peace. The idea that we'd have this ethnic purification as a condition for peace, I think it's anti-peace."[169][170][171] Not long thereafter, Jeffrey Goldberg of The Atlantic reported that the relationship between Netanyahu and the White House had reached a new low, with the U.S. administration angry over Israel's settlement policies, and Netanyahu expressing contempt for the American administration's grasp of the Middle East.[172]
On 2 December 2014, Netanyahu fired two of his ministers, Finance Minister Yair Lapid, who heads the centrist Yesh Atid party and Justice Minister Tzipi Livni, who heads Hatnua. The changes led to the dissolution of the government, with new elections expected on 17 March 2015.[173]
In January 2015, Netanyahu was invited to address the US Congress. This speech marked Netanyahu's third speech to a joint session of Congress.[174] The day before announcing he would address Congress, Time reported that he tried to derail a meeting between U.S. lawmakers and the head of Mossad, Tamir Pardo, who intended warning them against imposing further sanctions against Iran, a move that might derail nuclear talks.[175][176] Leading up to the speech, on 3 March 2015, Israeli consuls general in the United States "expect[ed] fierce negative reaction from U.S. Jewish communities and Israel's allies". Objections included the arrangement of the speech without the support and engagement of the Obama administration and the timing of the speech before Israel's 17 March 2015 election. Seven American Jewish lawmakers met with Ron Dermer, Israel's ambassador to the U.S. and recommended that Netanyahu instead meet with lawmakers privately to discuss Iran.[177] In making the speech, Netanyahu claimed to speak for all Jews worldwide, a claim disputed by others in the Jewish community.[178][179][180][181] Rebecca Vilkomerson, executive director of Jewish Voice for Peace, stated that "American Jews are largely appalled by the notion that Netanyahu, or any other Israeli politician – one that we did not elect and do not choose to be represented by – claims to speak for us."[182]
As election day approached in what was perceived to be a close race in the 2015 Israeli elections, Netanyahu answered 'indeed' when asked whether a Palestinian state would not be established in his term. He said that support of a Palestinian state is tantamount to yielding territory for radical Islamic terrorists to attack Israel.[183] However, Netanyahu reiterated "I don't want a one-state solution. I want a peaceful, sustainable two-state solution. I have not changed my policy."[184]
Fourth term
Further information: Thirty-fourth government of Israel
In the 2015 election, Netanyahu returned with his party Likud leading the elections with 30 mandates, making it the single highest number of seats for the Knesset. President Rivlin granted Netanyahu an extension until 6 May 2015 to build a coalition when one had not been finalized in the first four weeks of negotiations.[185] He formed a coalition government within two hours of the midnight 6 May deadline.[186] His Likud party formed the coalition with Jewish Home, United Torah Judaism, Kulanu, and Shas.[186][187]
On 28 May 2015, Netanyahu announced that he would be running for an unprecedented fifth term as prime minister in the next general election and that he supports Likud's current process of picking MK candidates.[188]
In August 2015, Netanyahu's government approved a two-year budget that would see agricultural reforms and lowering of import duties to reduce food prices, deregulation of the approval process in construction to lower housing costs and speed up infrastructure building, and reforms in the financial sector to boost competition and lower fees for financial services.[189][190] In the end, the government was forced to compromise by removing some key agricultural reforms.[191]
In October 2015, Netanyahu drew widespread criticism for claiming that the Grand Mufti of Jerusalem, Haj Amin al-Husseini, gave Adolf Hitler the idea for the Holocaust in the preceding months to the Second World War, convincing the Nazi leader to exterminate Jews rather than just expel them from Europe.[192][193][194] This idea is dismissed by mainstream historians,[195] who note that al-Husseini's meeting with Hitler took place approximately five months after the mass murder of Jews began.[196] German Chancellor Angela Merkel said she did not accept Netanyahu's claims, and reiterated an acceptance of her country's crimes during the Nazi era.[197] Netanyahu later explained that his "aim was not to absolve Hitler from the responsibility he bears, but to show that the father of the Palestinian nation at the time, without a state and before the 'occupation', without the territories and with the settlements, even then aspired with systemic incitement for the destruction of the Jews."[198] Some of the strongest criticism came from Israeli academics: Yehuda Bauer said Netanyahu's claim was "completely idiotic",[196] while Moshe Zimmermann stated that "any attempt to deflect the burden from Hitler to others is a form of Holocaust denial."[199]
In March 2016, Netanyahu's coalition faced a potential crisis as ultra-Orthodox members threatened to withdraw over the government's proposed steps to create non-Orthodox prayer space at the Western Wall. They have stated they will leave the coalition if the government offers any further official state recognition of Conservative and Reform Judaism.[200]
On 23 December 2016, the United States, under the Obama Administration, abstained from United Nations Security Council Resolution 2334, effectively allowing it to pass.[201] On 28 December, U.S. Secretary of State John Kerry strongly criticized Israel and its settlement policies in a speech.[202] Netanyahu strongly criticized both the UN Resolution[203] and Kerry's speech[204] in response. On 6 January 2017, the Israeli government withdrew its annual dues from the organization, which totaled $6 million in United States dollars.[205]
On 22 February 2017, Netanyahu became the first serving prime minister of Israel to visit Australia. He was accompanied by his wife, Sara. The three-day official visit included a delegation of business representatives, and Netanyahu and Prime Minister of Australia Malcolm Turnbull were scheduled to sign several bilateral agreements. Netanyahu recalled that it was the Australian Light Horse regiments that liberated Beersheba during World War I, and this began what has been a relationship of 100 years between the countries.[206]
On 12 October 2017, shortly after the United States announced the same action, Netanyahu's government announced it was leaving UNESCO due to what it saw as anti-Israel actions by the agency,[207][208] and it made that decision official in December 2017.[209][210] The Israeli government officially notified UNESCO of the withdrawal in late December 2017.[211][212][213][214]
On 30 April 2018, Netanyahu accused Iran of not holding up its end of the Iran nuclear deal after presenting a cache of over 100,000 documents detailing the extent of Iran's nuclear program. Iran denounced Netanyahu's presentation as "propaganda".[215]
Netanyahu praised the 2018 North Korea–United States summit. He said in a statement, "I commend US President Donald Trump on the historic summit in Singapore. This is an important step in the effort to rid the Korean peninsula of nuclear weapons."[216]
On 19 July 2018, the Knesset passed the Nation-State Bill, a Basic Law supported by Netanyahu's coalition government.[217][218][219] Analysts saw the bill as a sign of Netanyahu's coalition advancing a right-wing agenda.[220]
Prior to the April 2019 Israeli legislative election, Netanyahu helped broker a deal that united the Jewish Home party[221] with the far-right Otzma Yehudit party, in order to form the Union of the Right-Wing Parties. The motivation of the deal was to overcome the electoral threshold for smaller parties. The deal was criticized in the media, as Otzma is widely characterized as racist and traces its origins to the extremist Kahanist movement.[222][223]
Criminal investigations and indictment
Main article: Trial of Benjamin Netanyahu
Since January 2017, Netanyahu has been investigated and questioned by Israeli police in two cases, "Case 1000" and "Case 2000". The two cases are connected. In Case 1000, Netanyahu is suspected of having obtained inappropriate favors from businessmen, including James Packer and Hollywood producer Arnon Milchan.[224][225] Case 2000 involves alleged attempts to strike a deal with the publisher of the Yedioth Ahronot newspaper group, Arnon Mozes, to promote legislation to weaken Yedioth's main competitor, Israel Hayom, in exchange for more favorable coverage of Netanyahu.
On 3 August 2017, Israeli police confirmed for the first time that Netanyahu was suspected of crimes involving fraud, breach of trust, and bribes in cases "1000" and "2000".[226] The next day, it was reported that the Prime Minister's former chief of staff, Ari Harow, had signed a deal with prosecutors to testify against Netanyahu in these cases.[227]
On 13 February 2018, Israeli police recommended that Netanyahu be charged with corruption. According to a police statement, sufficient evidence exists to indict the prime minister on charges of bribery, fraud, and breach of trust in the two cases. Netanyahu responded that the allegations were baseless and that he would continue as prime minister.[228] On 25 November 2018, it was reported that Economic Crimes Division Director Liat Ben-Ari recommended indictment for both cases.[229]
On 28 February 2019, the Israeli attorney general announced his intent to file indictments against Netanyahu on bribe and fraud charges in three different cases.[230] Netanyahu was formally indicted on 21 November 2019.[231][232][233] If Netanyahu is convicted, he could face up to 10 years in prison for bribery and a maximum of three years for fraud and breach of trust.[234][235] He is the first sitting prime minister in Israel's history to be charged with a crime.[15] On 23 November 2019, it was announced that Netanyahu, in compliance with legal precedent set by the Israeli Supreme Court in 1993,[16] would relinquish his agriculture, health, social affairs and diaspora affairs portfolios.[16][17] The matter of forcing a prime minister to resign due to an indictment has yet to be tested in court.[16][17] He was officially charged on 28 January 2020.[236]
Netanyahu's criminal trial was set to begin on 24 May 2020, having been initially scheduled for March of that year but delayed due to the COVID-19 pandemic.[237] As of April 2023, the criminal trial was still ongoing.[238]
Fifth term
Further information: Thirty-fifth government of Israel
On 17 May 2020, Netanyahu was sworn in for a fifth term as prime minister in a coalition with Benny Gantz. Against a background of the COVID-19 pandemic in Israel and Netanyahu's criminal trial, extensive demonstrations broke out against him in front of the prime minister's residence. Following this, Netanyahu ordered to disperse the demonstrations using COVID-19 special regulations, limiting them to 20 people and at a distance of 1,000 meters from their homes.[239] However, the exact opposite was achieved; the demonstrations were enlarged and dispersed to over 1,000 centers.[240] By March 2021, Israel became the country with the highest vaccinated population per capita in the world against COVID-19.[241]
After tensions escalated in Jerusalem in May 2021, Hamas fired rockets on Israel from Gaza, which prompted Netanyahu to initiate Operation Guardian of the Walls, lasting eleven days.[242] After the operation, Israeli politician and leader of the Yamina alliance Naftali Bennett announced that he had agreed to a deal with Leader of the Opposition Yair Lapid to form a rotation government that would oust Netanyahu from his position as prime minister. On 13 June 2021, Bennett and Lapid formed a coalition government,[243] and Netanyahu was ousted as prime minister, ending his 12-year tenure.[244]
Leader of the Opposition (2021–2022)
After the end of his second premiership, Netanyahu began his third stint as the leader of the opposition. Likud remained the largest party in the twenty-fourth Knesset.[245] He led the opposition into the 2022 Israeli legislative election.
Prime minister (2022–present)
Sixth term
After the 2022 election, Netanyahu was sworn in as prime minister again as the leader of a hardline coalition.[246] He officially started his sixth term on 29 December 2022.[247]
The first months of Netanyahu's sixth term were centered around a proposed reform package in the judicial branch, which drew widespread criticism. Critics highlighted the negative effects it would have on the separation of powers,[248][249][250] the office of the Attorney General,[251][252][253] the economy,[254][255][256] public health,[257][258] women and minorities,[257][258][259] workers' rights,[260] scientific research,[258][261] the overall strength of Israel's democracy[262][263] and its foreign relations.[264] After weeks of public protests on Israel's streets, joined by a growing number of military reservists, Minister of Defense Yoav Gallant spoke against the reform on 25 March, calling for a halt of the legislative process "for the sake of Israel's security".[265] Netanyahu announced his intention to remove Gallant from his post the following day, sparking further mass protests across Israel and ultimately leading to Netanyahu agreeing to delay the legislation for a month.[266][267]
In February 2023, the new government under Netanyahu approved the legalization of nine settler outposts in the occupied West Bank.[268] Finance Minister Bezalel Smotrich took charge of most of the Civil Administration, obtaining broad authority over civilian issues in the West Bank. Israeli peace groups condemned the move as de jure annexation of the occupied territories.[269][270] In March 2023, Netanyahu's government repealed a 2005 law whereby four Israeli settlements, Homesh, Sa-Nur, Ganim and Kadim, were dismantled as part of the Israeli disengagement from Gaza.[271] In June 2023, Netanyahu's coalition shortened the procedure of approving settlement construction and gave Finance Minister Smotrich the authority to approve one of the stages, changing the system operating for the last 27 years.[272] In its first six months, construction of 13,000 housing units in settlements, almost triple the amount advanced in the whole of 2022.[273]
Israel refused to send lethal weapons to Ukraine. In June 2023, Netanyahu said that Israel is concerned "with the possibility that systems that we would give to Ukraine would fall into Iranian hands and could be reverse engineered, and we would find ourselves facing Israeli systems used against Israel."[274]
On 7 October 2023, after Palestinian militants from Gaza launched a major surprise attack, Netanyahu announced that Israel would enter in a state of war against Hamas.[275] He threatened to "turn all the places where Hamas is organized and hiding into cities of ruins", called Gaza "the city of evil", and urged its residents to "leave now".[276] He later proposed that opposition parties Yesh Atid and National Unity enter an emergency unity government amid the conflict,[277] after Leader of the Opposition Lapid urged Nethanyahu put "aside our differences and form an emergency, narrow, professional government."[278]
The outbreak of war led to increased opposition to Netanyahu and the government from Israeli citizens due to a perceived failure to anticipate the Hamas-led attack, with increased calls for Netanyahu's resignation.[279] A poll in 2023 showed that 56% of Israelis believed that Netanyahu must resign after the war, with 86% of respondents holding the country's leadership responsible for the security failings that led to the attack.[280][281] On October 28, 2023, Netanyahu was accused of using "dangerous rhetoric" when comparing Hamas to Amalek, stating: "You must remember what Amalek has done to you, says our Holy Bible. And we do remember."[282] On 29 October, Netanyahu blamed Israel's security chiefs for Hamas's attack in a post on X (formerly Twitter); this was later deleted following criticism.[283]
On 11 November 2023, he rejected calls for a ceasefire in the war and warned that Israel will "stand firm against the world if necessary." He said the Israel Defense Forces would remain in Gaza "as long as necessary" and Israel would prevent the Palestinian Authority from returning to Gaza.[284] Netanyahu called allegations that Israel is breaking international law "hogwash" and described Palestinian civilian casualties as "collateral damage."[285] On 5 December 2023, he faced criticism during a meeting with released Israeli hostages. One of the hostages accused him of putting politics "above the return of the kidnapped."[286] In December 2023, Netanyahu said that Israel should support the "voluntary migration" of Palestinians from Gaza.[287]
On 20 May 2024, Karim Khan, the Prosecutor of the International Criminal Court, announced his intention to apply for an arrest warrant for Netanyahu on several counts of war crimes and crimes against humanity.[30][32]
On July 24, 2024, Netanyahu addressed another joint session of the United States Congress, amidst widespread protest, to solicit support for the Israel-Hamas war.[288] He called protesters "useful idiots" and pledged a "total victory" in Gaza.[289] On July 24, he met with 2024 Republican nominee for president Donald Trump in Florida at his Mar-a-Lago residence where he criticized presumptive Democratic nominee for President Kamala Harris for vowing that she "will not be silent" about atrocities in Gaza.[290]
Political positions
Israeli–Palestinian conflict
Netanyahu opposed the Oslo Accords from their inception. In 1993, he dedicated a chapter, entitled "Trojan Horse", of his book A Place Among the Nations to argue against the Oslo peace process. He asserted that Amin al-Husseini had been one of the masterminds of the Holocaust, and that Yasser Arafat was heir to the former's "alleged exterminationist Nazism".[291] During his term as prime minister in the late 1990s, Netanyahu consistently reneged on commitments made by previous Israeli governments as part of the Oslo peace process, leading American peace envoy Dennis Ross to note that "neither President Clinton nor Secretary [of State Madeleine] Albright believed that Bibi had any real interest in pursuing peace."[292] In a 2001 video, Netanyahu, reportedly unaware he was being recorded, said:
They asked me before the election if I'd honor [the Oslo Accords] […] I said I would, but ... I'm going to interpret the accords in such a way that would allow me to put an end to this galloping forward to the '67 borders. How did we do it? Nobody said what defined military zones were. Defined military zones are security zones; as far as I'm concerned, the entire Jordan Valley is a defined military zone. Go argue.[293]
On 9 August 2009, speaking at the opening of his weekly cabinet meeting, Netanyahu promised not to repeat the "mistake" of the Gaza unilateral pullout, saying, "We will not repeat this mistake. We will not create new evacuees", and adding that "the unilateral evacuation brought neither peace nor security. On the contrary", and that "We want an agreement with two factors, the first of which is the recognition of Israel as the national state of the Jewish people and [the second is] a security settlement. In the case of Gaza, both of these factors were lacking". He also said, "Should we achieve a turn toward peace with the more moderate partners, we will insist on the recognition of the State of Israel and the demilitarization of the future Palestinian state".[294][295] In October 2014, Netanyahu said:
We don't just hand over territory, close our eyes and hope for the best. We did that in Lebanon and we got thousands of rockets. We did that in Gaza, we got Hamas and 15,000 rockets. So we're not gonna just replicate that. We want to see genuine recognition of the Jewish state and rock solid security arrangements on the ground. That's the position I've held, and it's only become firmer.[296]
Netanyahu had previously called U.S.-backed peace talks a waste of time,[297] while at the same time refusing to commit to the same two-state solution as had other Israeli leaders,[298] until a speech in June 2009. He repeatedly made public statements which advocated an "economic peace" approach, meaning an approach based on economic cooperation and joint effort rather than continuous contention over political and diplomatic issues. This is in line with many significant ideas from the Peace Valley plan.[299] He raised these ideas during discussions with former U.S. Secretary of State Condoleezza Rice.[300] Netanyahu continued to advocate these ideas as the Israeli elections approached.[301] Netanyahu has said:
Right now, the peace talks are based on only one thing, only on peace talks. It makes no sense at this point to talk about the most contractible issue. It's Jerusalem or bust, or right of return or bust. That has led to failure and is likely to lead to failure again ... We must weave an economic peace alongside a political process. That means that we have to strengthen the moderate parts of the Palestinian economy by handing rapid growth in those areas, rapid economic growth that gives a stake for peace for the ordinary Palestinians."[299]
In January 2009, prior to the February 2009 Israeli elections Netanyahu informed Middle East envoy Tony Blair that he would continue the policy of the Israeli governments of Ariel Sharon and Ehud Olmert by expanding settlements in the West Bank, in contravention of the Road Map, but not building new ones.[302]
In 2013, Netanyahu denied reports that his government would agree to peace talks on the basis of the green line.[305] In 2014 he agreed to the American framework based on the green line and said that Jewish settlers must be allowed the option of staying in their settlements under Palestinian rule.[306][307]
In 2014, Palestinian negotiator Saeb Erekat criticized Netanyahu, calling him "ideologically corrupt" and a war criminal.[308]
For years, Netanyahu backed Qatari transfers of hundreds of millions of dollars to Gaza, in the hope that it would pacify Gaza, turn Hamas into an effective counterweight to the Palestinian Authority and prevent the establishment of a Palestinian state.[309][310] In 2019, Netanyahu said at a private Likud party meeting, "Anyone who wants to thwart the establishment of a Palestinian state has to support bolstering Hamas and transferring money to Hamas. This is part of our strategy — to isolate the Palestinians in Gaza from the Palestinians in the West Bank."[303][311] Often, cash was delivered in suitcases by a Qatari official who was escorted by Israeli intelligence officers.[312] According to the New York Times, Netanyahu continued backing the payments in response to Qatari questions as late as September 2023.[312]
In January 2020, Netanyahu publicly supported Trump's Israeli-Palestinian peace plan.[313] After the peace proposal failed, Trump said Netanyahu "never wanted peace" with the Palestinians.[314][315][316][317]
Former United States Secretary of State Rex Tillerson stated that on 22 May 2017, Netanyahu showed Donald Trump a fake and altered video of Palestinian President Mahmoud Abbas calling for the killing of children. This was at a time when Trump was considering if Israel was the obstacle to peace. Netanyahu had showed Trump the fake video to change his position in the Israeli-Palestinian conflict.[318]
The U.S.-brokered Abraham Accords agreed to the full normalization of relations between Israel and the United Arab Emirates (the Israel–United Arab Emirates normalization agreement) and Bahrain, respectively (the Bahrain–Israel normalization agreement).[319] This was the first time any Arab country had normalized relations with Israel since Jordan in 1994. The accords were signed by Bahrain's foreign minister, UAE's foreign minister and Netanyahu on 15 September 2020 at the South Lawn of the White House in Washington, D.C.[320]
On 23 October 2020, U.S. President Donald Trump announced that Sudan will start to normalize ties with Israel, making it the third Arab state to do so as part of the Trump administration-brokered Abraham Accords.[321][322] Sudan fought in wars against Israel in 1948 and 1967.[323] Netanyahu thanked "President Trump and his team above all", saying that "together with him we are changing history ... despite all the experts and commentators who said it was impossible. Israel was completely isolated and they told us we were heading into a political tsunami. What's happening is the absolute opposite."[324] This was followed by Morocco establishing relations with Israel in December.[325] In July 2024, Pakistan officially designated him a "terrorist", calling him responsible for the atrocities in Gaza.[326]
Bar-Ilan speech
In June 2009, Netanyahu delivered an address[327] at Bar-Ilan University, known as the "Bar-Ilan speech", at Begin-Sadat Center for Strategic Studies, that was broadcast live in Israel and across parts of the Arab world, on the Israeli–Palestinian peace process. He endorsed for the first time the notion of a Palestinian state alongside Israel.[328] Netanyahu's speech could be viewed in part as a response to Obama's 4 June speech at Cairo. Yedioth Ahronoth claimed Obama's words had "resonated through Jerusalem's corridors".[329]
As part of his proposal, Netanyahu demanded full demilitarization of the proposed state, with no army, rockets, missiles, or control of its airspace, and said Jerusalem would be undivided Israeli territory. He stated that the Palestinians should recognize Israel as the Jewish national state with an undivided Jerusalem. He rejected a right of return for Palestinian refugees, saying, "any demand for resettling Palestinian refugees within Israel undermines Israel's continued existence as the state of the Jewish people." He stated that a complete stop to settlement building in the West Bank, as required by the 2003 road map for peace, was impossible and the expansions would be limited based on the "natural growth" of the population, including immigration, with no new territories taken. Nevertheless, Netanyahu affirmed that he accepted the road map.[330] He did not discuss whether or not the settlements should be part of Israel after peace negotiations, simply stating that the "question will be discussed".[328]
In a response to Obama's statements in his Cairo speech, Netanyahu remarked, "there are those who say that if the Holocaust had not occurred, the State of Israel would never have been established. But I say that if the State of Israel would have been established earlier, the Holocaust would not have occurred." He said, "this is the homeland of the Jewish people, this is where our identity was forged." He stated that he would be willing to meet with any "Arab leader" for negotiations without preconditions, specifically mentioning Syria, Saudi Arabia, and Lebanon.[328] The address represented a new position for Netanyahu's government on the peace process.[331]
Right-wing members of Netanyahu's governing coalition criticized his remarks for the creation of a Palestinian State, believing all of the land should come under Israeli sovereignty. Likud MK Danny Danon said Netanyahu went "against the Likud platform",[332] while MK Uri Orbach of Habayit Hayehudi said it had "dangerous implications".[333] Opposition party Kadima leader Tzipi Livni remarked that she thinks Netanyahu does not really believe in the two-state solution at all; she thought he only said what he did as a feigned response to international pressure.[334] Peace Now criticized the speech, stating it did not address the Palestinians as equal partners in the peace process. The Secretary General of Peace Now, said, "It's a rerun of Netanyahu from his first term".[335]
On 9 August 2009, speaking at the opening of a government meeting, Netanyahu repeated his claims from the Palestinians: "We want an agreement with two factors, the first of which is the recognition of Israel as the national state of the Jewish people and (the second of which is) a security settlement".[294]
Netanyahu's speech provoked mixed reaction from the international community.[336] The Palestinian National Authority rejected the conditions on a Palestinian State. Saeb Erekat said, "Netanyahu's speech closed the door to permanent status negotiations". Hamas spokesman Fawzi Barhoum said it reflected a "racist and extremist ideology"[337] and called on Arab nations to "form stronger opposition".[331] Palestinian Islamic Jihad labeled it "misleading" and demanded stronger opposition to Israel from Arab nations.[338] According to The Jerusalem Post, some leaders advocated a third intifada in response to the speech.[328]
The Arab League dismissed it, declaring that "Arabs would not make concessions regarding issues of Jerusalem and refugees" and that "we know his history and style of evasion", adding that the Arab League would not recognize Israel as a Jewish state.[338] Referring to Netanyahu's demand that Palestinians recognize Israel as the state of the Jewish people, Egypt's president Hosni Mubarak remarked, "You won't find anyone to answer that call in Egypt, or in any other place." Issuing a less blunt response, the Egyptian Foreign Ministry said the speech was "not complete" and it hoped for another, "different Israeli proposal...built on the commitment to the two-state solution".[339][340] Syrian state media condemned the speech and wrote "Netanyahu has confirmed that he rejects the Arab peace initiative for peace along with all the initiatives and resolutions of the Security Council to relative peace."[336][341]
Lebanese President Michel Suleiman said "Arab leaders should be more united and preserve the spirit of resistance to face the Israeli stands regarding the peace process and the Palestinian refugee issue." He called on the international community to exert more pressure on Israel to accept the Arab Peace Initiative, as he said "Israel still has a will of military confrontation which can be proved in its offensives on Lebanon and the Gaza Strip."[338] Jordanian officials said "The ideas presented by Netanyahu do not live up to what was agreed on by the international community as a starting point for achieving a just and comprehensive peace in the region."[338] Former Iranian president Mahmoud Ahmadinejad referred to the speech as "bad news".[336]
The Czech Republic praised Netanyahu's address. "...this is a step in the right direction. The acceptance of a Palestinian state was present there", said Foreign Minister Jan Kohout, whose country held the EU's presidency at the time.[342] President Obama's press secretary, Robert Gibbs, said the speech was an "important step forward".[338][343] Obama stated that "this solution can and must ensure both Israel's security and the Palestinians' legitimate aspirations for a viable state".[336] Swedish Foreign Minister Carl Bildt stated that "the fact that he uttered the word state is a small step forward". He added that "whether what he mentioned can be defined as a state is a subject of some debate".[336][342] France praised the speech but called on Israel to cease building settlements in the West Bank. French Foreign Minister Bernard Kouchner stated, "I can only welcome the prospect of a Palestinian state outlined by the Israeli prime minister."[336][342] The Foreign Ministry of Russia called the speech "a sign of readiness for dialogue" but said "it does not open up the road to resolving the Israeli–Palestinian problem. The conditions on the Palestinians would be unacceptable."[336]
Economic views
Netanyahu has been described as "the advocate of the free-market".[345] As prime minister in his first term, he significantly reformed the banking sector, removing barriers to investment abroad, mandatory purchases of government securities and direct credit. As Minister of Finance (2003–2005), Netanyahu introduced a major overhaul of the Israeli economy. He introduced a welfare to work program, he led a program of privatization, reduced the size of the public sector, reformed and streamlined the taxation system and passed laws against monopolies and cartels with the aim of increasing competition.[90] Netanyahu extended capital gains taxes from companies to individuals, which allowed him to enlarge the tax base while reducing taxes on incomes.[346] As the Israeli economy started booming and unemployment fell significantly, Netanyahu was widely credited by commentators as having performed an 'economic miracle' by the end of his tenure.[90] Direct investment in the Israeli economy had increased by an annualized 380%.[347] On the other hand, his critics have labelled his economic views as Margaret Thatcher-inspired "popular capitalism".[348]
Netanyahu defines capitalism as "the ability to have individual initiative and competition to produce goods and services with profit, but not to shut out somebody else from trying to do the same".[344] He says that his views developed while he was working as an economic consult for Boston Consulting Group: "It was the first time that the Boston Consulting Group looked at governments and worked for governments. They wanted to do a strategic plan for the government of Sweden. I was on that case and looked at other governments. So I went around to other governments in Europe in 1976 and I was looking at Britain. I was looking at France. I was looking at other countries, and I could see that they were stymied by concentrations of power that prevented competition. And I thought, hmm, as bad as they are, ours was worse because we had very little room for private sector competition to the extent that we had government-controlled or union-controlled companies, and so you really didn't get the competition or the growth ... And I said, well, if I ever have a chance, I'll change that."[344]
Views on counter-terrorism
Netanyahu has said his own "hard line against all terrorists" came as a result of his brother's death. Yoni Netanyahu had been killed while leading the hostage-rescue mission at Operation Entebbe.[350]
In addition to having taken part in counter-terrorist operations during his service in the military, Netanyahu has published three books on the subject of fighting terrorism. He identifies terrorism as a form of totalitarianism, writing:
The more far removed the target of the attack from any connection to the grievance enunciated by the terrorists, the greater the terror ... Yet for terrorism to have any impact, it is precisely the lack of connection, the lack of any possible involvement or "complicity" of the chosen victims in the cause the terrorists seek to attack, that produces the desired fear. For terrorism's underlying message is that every member of society is "guilty", that anyone can be a victim, and that therefore no one is safe... In fact, the methods reveal the totalitarian strain that runs through all terrorist groups... It is not only that the ends of the terrorists do not succeed in justifying the means they choose; their choice of means indicate what their true ends are. Far from being fighters for freedom, terrorists are the forerunners of tyranny. Terrorists use the techniques of violent coercion in order to achieve a regime of violent coercion.[351]
Netanyahu cautions that:
The trouble with active anti-terror activities... is that they do constitute a substantial intrusion on the lives of those being monitored.
He believes there is a balance between civil liberties and security, which should depend on the level of sustained terrorist attacks in a country. During periods of sustained attack, there should be shift towards security, due to "the monstrous violation of personal rights which is the lot of the victims of terror and their families".[352] But this should be regularly reviewed, with an emphasis on guarding civil liberties and individual privacy wherever and whenever security considerations allow:[352] "The concern of civil libertarians over possible infringements of the rights of innocent citizens is well placed, and all additional powers granted the security services should require annual renewal by the legislature, this in addition to judicial oversight of actions as they are taken in the field."[353]
He advises tighter immigration laws as an essential tool to preemptively combat terrorism: "This era of immigration free-for-all should be brought to an end. An important aspect of taking control of the immigration situation is stricter background checks of potential immigrants, coupled with the real possibility of deportation."[353]
He also cautions that it is essential that governments do not conflate terrorists with those legitimate political groups that may or may not hold extremist views, but which advance their positions by means of debate and argument: "Democracies have their share of anti-immigrant or anti-establishment parties, as well as advocates of extreme nationalism or internationalism ... [T]hey are often genuinely convinced participants in democracy, accepting its basic ground rules and defending its central tenets. These can and must be distinguished from the tiny splinters at the absolute fringes of democratic society, which may endorse many similar ideas, but use them as a pretext to step outside the rubric of the democratic system".[349]
In particular, Ronald Reagan was an admirer of Netanyahu's work on counter-terrorism, and Reagan recommended Netanyahu's book Terrorism: How the West Can Win to all senior figures in his administration.[354]
Death penalty
In 2017, Netanyahu called for the death penalty to be imposed on the perpetrator of the 2017 Halamish stabbing attack.[355] Representatives in his government introduced a bill which would allow the death penalty for terrorism to the Knesset.[356][357] In a preliminary vote in January 2018, 52 of 120 members of the Israeli parliament voted in favor while 49 opposed, to make it easier for judges to hand down the death penalty. The amendment to the penal code would still require three more readings if it is to become law.[358]
LGBT rights
Netanyahu supports equal rights for LGBT (lesbian, gay, bisexual, and transgender) persons. He said: "The struggle for every person to be recognized as equal before the law is a long struggle, and there is still a long way to go ... I am proud that Israel is among the most open countries in the world in relation to the LGBT community discourse."[359][360] During an event held for the annual community rights day at the Knesset, Netanyahu said that he was "asked to come here in the middle of my busy schedule to say one thing to the male and female members of the LGBT community: We must be guided by the conviction that every person is created in the image of God."[361] However, some of his coalition government's party members opposed same-sex marriage.[362]
Ethiopian Jewish integration
In 2015, after Ethiopian Jewish protests against police brutality, Netanyahu said: "We will bring a comprehensive plan to the government to assist you in every way. There is no room for racism and discrimination in our society, none ... We will turn racism into something contemptible and despicable."[363]
African Hebrew Israelites of Jerusalem
Netanyahu supports the integration of the African Hebrew Israelites of Jerusalem into Israeli society, and takes part in celebrations in honor of this community's "exodus" from America to Israel, which occurred in 1967. In 2012, Netanyahu expressed appreciation towards "the cooperative society that is working towards the inclusion of the Hebrew Israelite community in Israeli society at large," and declared that the experience of the community in the land of Israel is "an integral part of the Israeli experience."[364]
Iran
In an 8 March 2007 interview with CNN, opposition leader Netanyahu claimed that "there is only one difference between Nazi Germany and the Islamic Republic of Iran, namely that the first entered a worldwide conflict and then sought atomic weapons, while the latter is first seeking atomic weapons and, once it has them, will then start a world war." Netanyahu repeated these remarks at a news conference in April 2008.[365] This was similar to earlier remarks that "it's 1938, and Iran is Germany, and Iran is racing to arm itself with atomic bombs".[366]
On 20 February 2009, after being asked to be the prime minister of Israel, Netanyahu described Iran as the greatest threat that Israel has ever faced: "Iran is seeking to obtain a nuclear weapon and constitutes the gravest threat to our existence since the war of independence."[367] Speaking before the UN General Assembly in New York on 24 September 2009, Netanyahu expressed a different opinion than Iranian President Mahmoud Ahmadinejad's speech at the forum, saying those who believe Tehran is a threat only to Israel are wrong. "The Iranian regime", he said, "is motivated by fanaticism ... They want to see us go back to medieval times. The struggle against Iran pits civilization against barbarism. This Iranian regime is fueled by extreme fundamentalism."[127][128] "By focusing solely on Iran", columnist Yossi Melman speculated that Netanyahu's foreign policy, "... took the Palestinian issue off the world agenda." After four days of shelling from the Iranian-funded Palestinian Islamic Jihad, Melman asked, "Is it worth initiating a crisis with Iran? Will the Israeli public be able to cope with Iran's response?"[368]
According to Uzi Eilam, a retired brigadier general and the ex-director of Israel's Atomic Energy Commission, Netanyahu is using the threat of atomic Iran as a means of reaching his own goals. Directly blaming Netanyahu, he said: "Netanyahu is using the Iranian threat to achieve a variety of political objectives." He also said: "These declarations are unnecessarily scaring Israel's citizens, given Israel is not party to the negotiations to determine whether Iran will or will not dismantle its nuclear program."[369]
By 2012, Netanyahu is reported to have formed a close, confidential relationship with Defense Minister Ehud Barak as the two men considered possible Israeli military action against Iran's nuclear facilities,[370][371] following Israel's established Begin Doctrine. The pair were accused of acting on "messianic" impulses by Yuval Diskin, former head of the Shin Bet, who added that their warmongering rhetoric appealed to "the idiots within the Israeli public".[372] Diskin's remarks were supported by former Mossad chief Meir Dagan,[373] who himself had previously said that an attack on Iran was "the stupidest thing I have ever heard".[374] A few weeks later, the RAND Corporation (a leading American think-tank that advises the Pentagon) also openly disagreed with Netanyahu's belligerent stance: "In doing so, and without naming names, RAND sided with former Mossad chief Meir Dagan and former head of the Shin Bet Yuval Diskin."[375]
Early in 2012, he used the opening ceremony for Israel's Holocaust Remembrance Day to warn against the dangers of an Iranian nuclear bomb, saying he was following the example of Jewish leaders during World War II who struggled to raise the alarm about the Nazis' genocidal intentions.[376] Israeli academic Avner Cohen accused Netanyahu of showing "contempt" for the Holocaust by putting it to "political use",[377] and former Israeli foreign minister Shlomo Ben-Ami similarly condemned Netanyahu's "vulgar manipulation of the memory of the Holocaust".[378] Immediately after the 2012 Burgas bus bombing, Netanyahu confirmed that the attack had been undertaken in coordination with Iran.[379]
Netanyahu stated during a 29 July meeting that, in his opinion, "all the sanctions and diplomacy so far have not set back the Iranian programme by one iota".[380] And in August he stated that the United States only might respond to a massive attack against Israel.[381] On 28 September 2012, Netanyahu gave a speech to the UN General Assembly in which he set forward a "red line" of 90% uranium enrichment, stating that if Iran were to reach this level, it would become an intolerable risk for Israel.[382] Netanyahu used a cartoon graphic of a bomb to illustrate his point, indicating three stages of uranium enrichment, noting that Iran had already completed the first stage, and stating that "By next spring, at most by next summer at current enrichment rates, [Iran] will have finished the medium enrichment and move on to the final stage. From there, it's only a few months, possibly a few weeks before they get enough enriched uranium for the first bomb."[383] At the time, according to cables leaked in 2015, Mossad's assessment was that Iran did not appear ready to enrich uranium to levels required for a nuclear bomb.[384]
In an October 2013 interview with BBC Persian Service, Netanyahu praised the history of Persia and said: "If the Iranian regime has nuclear weapons, the Iranian people will never be free of dictatorship and will live in eternal servitude."[385]
The U.S. military's 2020 Baghdad International Airport airstrike, which killed the high-level Iranian General Qasem Soleimani, brought strong reactions from around the world. Netanyahu praised the air strike, saying that Trump had acted "swiftly, forcefully and decisively".[386]
Bank of China terror financing case
In 2013, Netanyahu found himself caught between conflicting commitments made to the family of American terror victim Daniel Wultz and the Government of China. Although Netanyahu was reported to have previously promised U.S. Representative Ileana Ros-Lehtinen that Israel would fully cooperate in the terror-financing case against Bank of China in U.S. District Court, the prime minister reportedly made a conflicting promise to the Government of China prior to a state visit to China in May 2013.[387] Attorney David Boies, lead counsel for the Wultz family, told The Wall Street Journal, "While we are respectful of China's interests, and of the diplomatic pressure to which Israel has been subjected, those interests and that pressure cannot be permitted to obstruct the ability of American courts to hear critical evidence."[388][389]
In August 2013, Ros-Lehtinen, chair of the House Middle East and South Asia subcommittee, told the Miami Herald she raised the issue while leading a congressional delegation to Israel, stressing to Israeli officials the importance of them providing the Wultz family what they need for their lawsuit.[390] "I am hopeful that we can bring this case to a conclusion that is satisfactory to the family, but we need community support to not waver at this critical time," Ros-Lehtinen said.[390]
U.S. Representative Debbie Wasserman Schultz, chair of the Democratic National Committee, also spoke out on the issue with the Miami Herald: "In South Florida, we all know too well of the tragic circumstances surrounding the cowardly terrorist attack that took Daniel Wultz's innocent life. I have been working, hand in hand with the Wultz family and the state of Israel to ensure any and all of those involved in this terrorist activity, including the Bank of China, pay for their crimes so that justice can be served."[390]
Defense and security
In 2011, Netanyahu arranged for 1000 Hamas and Fatah prisoners to be swapped for Gilad Shalit, including terrorists with "blood on their hands".[391] Israeli officials estimate that 60% of those who are released "resume terrorism attacks".[392]
In 2011, Israeli General Staff concluded that the armed forces cannot maintain their battle readiness under Netanyahu's proposed cuts.[393] However Netanyahu decided to cut social programs instead, and promised to increase the defense budget by about six percent.[394][395] In spite of this, the Israeli military still fell NIS 3.7 million short from its projected budget, which could damage their war capabilities.[396] According to a U.S. State Department representative in November 2011, under the leadership of Netanyahu and Obama, Israel and the United States have enjoyed unprecedented security cooperation.[397]
Under Netanyahu's leadership, the Israeli National Security Council has seen an expanded role in foreign policy planning and decision-making.[398]
During the 2023 Israel–Hamas war he called for Israel to assume "overall security responsibility" over the Gaza Strip, saying "we've seen what happens when we don't have it [...] what we have is the eruption of Hamas terror on a scale that we couldn't imagine".[399][400]
Illegal immigration
In his 1995 book Fighting Terrorism: How Democracies Can Defeat Domestic and International Terrorism, Netanyahu strongly argued that tightening immigration laws in the West is the most effective method to combat terrorism. "This era of immigration free-for-all should be brought to an end", he wrote in 1995.[353]
In 2012 the Netanyahu government passed the "Prevention of Infiltration Law", which mandated automatic detention of all people, including asylum-seekers, who enter Israel without permission. Amnesty International called it "an affront to international law".[401][402] Between 2009 and 2013, approximately 60,000 people crossed into Israel from various African countries.[403] Netanyahu said that "this phenomenon is very grave and threatens the social fabric of society, our national security and our national identity."[404] Many of these migrants are held in detention camps in the Negev desert.[405] When the Supreme Court of Israel declared the "Prevention of Infiltration Law" illegal for permitting immediate and indefinite detention of asylum seekers from Africa, Netanyahu requested new legislation to work around the Supreme Court ruling.[406]
Netanyahu is critical of what he sees as the overly open immigration policy of EU nations. Netanyahu has urged the leaders of Hungary, Slovakia, Czech Republic and Poland to close their borders to illegal immigration.[407]
Relations with foreign leaders
Netanyahu has a close relationship with Hungarian prime minister Viktor Orbán, their having known each other for decades due to the privileged relationship between the Likud Party and the EPP, the European People's Party. Orban particularly admired Netanyahu while he was working as finance minister, and received advice from him while Netanyahu was Finance Minister of Israel.[408]
Netanyahu has been noted for his close and friendly relationship with former-late Italian prime minister Silvio Berlusconi.[409] Netanyahu has said of Berlusconi: "We are lucky that there is a leader such as yourself."[410] Netanyahu has described Berlusconi as "one of the greatest friends".[409][411]
Netanyahu and Indian Prime Minister Narendra Modi developed a close relationship and ties between India and Israel increased during their rule.[412][413][414]
Netanyahu had a warm relationship and "personal friendship" with Russian President Vladimir Putin.[415][416] In his 2022 book, Netanyahu wrote positively about Putin and describes him as "smart, sophisticated and focused on one goal – returning Russia to its historical greatness".[417] Their relationship has been strained since the start of the Israel–Hamas war.[418]
During the 2011 G-20 Cannes summit, then-French president Nicolas Sarkozy was overheard saying to then-U.S. President Barack Obama, "I cannot bear Netanyahu, he's a liar", and Obama reportedly responded, "You're fed up with him, but I have to deal with him every day."[419][420]
Netanyahu and former U.S. President Donald Trump have known each other for many years.[421] Netanyahu had been a friend of Donald Trump's father, Fred, when Netanyahu lived in New York during the 1980s, serving as UN ambassador.[63] In 2013, Trump made a video endorsing Netanyahu during the Israeli elections saying, "vote for Benjamin – terrific guy, terrific leader, great for Israel". In June 2019, Netanyahu officially renamed a settlement in the disputed Golan Heights after Donald Trump.[422][423] However, Trump aide Jared Kushner has claimed that in January 2020, Trump became frustrated with Netanyahu's rhetoric regarding annexation of the Jordan Valley, and considered endorsing his political opponent, Benny Gantz.[424] Following Netanyahu's congratulations for Joe Biden after the 2020 U.S. presidential election, the relationship deteriorated, with Trump accusing him of disloyalty and stating Netanyahu had "made a terrible mistake".[425]
Netanyahu has close ties with the congressional leadership of the U.S. Republican Party and with its 2012 presidential candidate, Mitt Romney. He and Romney first became acquainted when both worked at the Boston Consulting Group in the mid-1970s.[426] U.S. President Joe Biden, a Democrat, has been friendly with Netanyahu for many years. In November 2011[427] and in the 2012 U.S. vice presidential debate,[428] Biden stated that the relationship has lasted for 39 years. In March 2010, Netanyahu remarked during a joint statement with Biden during his visit of Israel[429] that their friendship had started almost three decades prior.
In October 2014, author Jeffrey Goldberg related a conversation in which Goldberg said that a senior official of the Obama administration called Netanyahu a "chickenshit" after Netanyahu accused U.S. President Barack Obama of "acting contrary to American values". Goldberg went on to say that Netanyahu and his cabinet were largely to blame for the tensions between the Netanyahu and Obama governments.[172] Secretary of State John Kerry phoned Netanyahu to clarify that "such statements are disgraceful, unacceptable and damaging" and "do not reflect the position of the United States".[430] Netanyahu responded by saying "I'm being attacked because of my determination to defend Israel's interests. The safety of Israel is not important to those who attack me anonymously and personally."[431] Because of evident rifts between Netanyahu and members of the Obama administration, observers have characterized the relationship as having reached a crisis level by October 2014.[432][172] The relationship between Netanyahu and the Obama administration had become problematic enough that Goldberg reported in November 2014 that his conversations with Netanyahu and other Israeli officials indicated that Israel would wait until a new U.S. president is elected before attempting to repair the relationship with the White House. According to Alon Pinkas, a former diplomat and adviser to Israeli prime ministers, "Netanyahu's self-righteousness that this resolution is going to be changed or reversed by Trump is totally unfounded."[433]
On 23 December 2016, the United Nations Security Council passed a resolution calling for an end to Israeli settlements.[435] In a departure from longstanding American policy, the US, under the Obama administration, abstained from the vote and did not exercise its veto power. At the behest of the Netanyahu government, President-elect Trump attempted to intercede by publicly advocating for the resolution to be vetoed, as well as successfully persuading Egypt's Abdel Fattah el-Sisi to temporarily withdraw it from consideration.[436] The resolution was then "proposed again by Malaysia, New Zealand, Senegal and Venezuela" – and passed 14 to 0. Netanyahu's office alleged that "the Obama administration not only failed to protect Israel against this gang-up at the UN, it colluded with it behind the scenes", adding: "Israel looks forward to working with President-elect Trump and with all our friends in Congress, Republicans and Democrats alike, to negate the harmful effects of this absurd resolution."[437][438][439]
In early 2018, the Polish parliament adopted a new Polish law criminalizing suggestions that Poles were collectively complicit in Holocaust-related or other war crimes that had been committed during World War II by the Axis powers.[440][441] Later that year at the Munich Security Conference, Polish prime minister Mateusz Morawiecki said "it is not going to be seen as criminal to say that there were Polish perpetrators, as there were Jewish perpetrators ... not only German perpetrators" implicated in the Jewish Holocaust.[442] Netanyahu called his Polish counterpart's comment "outrageous" for saying that Jews had been among the Holocaust's perpetrators.[443] The resulting crisis in Israel–Poland relations was resolved in late June that year when the two prime ministers issued a joint communiqué endorsing research into the Jewish Holocaust and condemning the misnomer "Polish concentration camps".[444]
According to Efraim Zuroff of the Simon Wiesenthal Center, during the visit of Ukrainian President Petro Poroshenko in Jerusalem, Netanyahu failed to publicly address Ukraine's official policy of rehabilitating local Nazi collaborators like UPA leader Roman Shukhevych, who had participated in the murder of Jews.[445]
Netanyahu has developed a close relationship with Brazilian President Jair Bolsonaro following Bolsonaro's election in 2018.[446][447]
Netanyahu has a good relationship with Argentinian president Javier Millei, having called Millei a "great friend of the Jewish State", shortly after Millei started his tenure as president.[448]
Since 2023, Netanyahu and Chinese President Xi Jinpeng have been engaged in diplomacy, arising due to strained
|
||||||
9034
|
dbpedia
|
3
| 12
|
http://www.nts.live/artists/19358-telefon-tel-aviv
|
en
|
Telefon Tel Aviv
|
[
"https://www.facebook.com/tr?id=1071656873904973&ev=PageView&noscript=1",
"http://www.nts.live/img/soundcloud-brand-logo.png",
"https://media.ntslive.co.uk/resize/400x400/25d8f388-3ecc-4558-8d4d-bedca45134c9_1434047279.jpg",
"https://media.ntslive.co.uk/resize/400x400/25d8f388-3ecc-4558-8d4d-bedca45134c9_1434047279.jpg",
"https://media3.ntslive.co.uk/crop/100x100/2df4b725-21e2-47d3-82f3-55b12e6972d2_1585699200.jpeg",
"https://media3.ntslive.co.uk/resize/100x100/a5a7c4f7-035f-4543-bc94-260bca574df7_1493164800.jpeg",
"https://media3.ntslive.co.uk/resize/100x100/a5a7c4f7-035f-4543-bc94-260bca574df7_1493164800.jpeg",
"https://media3.ntslive.co.uk/resize/100x100/a5a7c4f7-035f-4543-bc94-260bca574df7_1493164800.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"NTS Radio"
] | null |
Telefon Tel Aviv hosted a guest show on 28 April 2017. Telefon Tel Aviv has been played over 20 times on NTS, first on 30 September 2012. Telefon Tel Aviv's music has been featured on 29 episodes.
Telefon Tel Aviv is a Los Angeles-based group formed in 1999 by Josh Eustis and the late Charlie Cooper, originally based in New Orleans, and then Chicago before Cooper's death. The two met in high school, but did not begin working on music together until after university studies. Since 1999, Josh and Charlie had been working to cultivate their sound, based largely in electronic music, but that also...
|
en
|
/apple-touch-icon.png?v=47rE43RRzB
|
NTS Radio
|
http://www.nts.live/artists/19358-telefon-tel-aviv
|
Telefon Tel Aviv hosted a guest show on 28 April 2017. Telefon Tel Aviv has been played over 20 times on NTS, first on 30 September 2012. Telefon Tel Aviv's music has been featured on 29 episodes.
Telefon Tel Aviv is a Los Angeles-based group formed in 1999 by Josh Eustis and the late Charlie Cooper, originally based in New Orleans, and then Chicago before Cooper's death. The two met in high school, but did not begin working on music together until after university studies. Since 1999, Josh and Charlie had been working to cultivate their sound, based largely in electronic music, but that also…
|
||||
9034
|
dbpedia
|
2
| 2
|
https://blog.native-instruments.com/telefon-tel-aviv-interview/
|
en
|
Telefon Tel Aviv: Sound design, sine waves, and why ‘wrong’ is often right
|
[
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/7-ways-to-amp-up-the-atmosphere-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/telefon-tel-aviv-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/using-traktor-in-the-studio-how-the-dj-tool-is-used-to-make-beats-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/eomac-and-kyoka-are-lena-andersson-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/02/secrets-of-modularity-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/03/thomas-ragsdales-weird-music-hero-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/02/richard-devine-making-music-hero-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/robert-dudzic-how-to-be-the-best-at-sound-design-hero-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/telefon-tel-aviv-hero-768x768-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2020/01/telefon-tel-aviv-01-studio-1200x0-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/08/chord-inversions-101-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/08/6-creative-reverb-effects-featured-620x354-c-default.png",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/08/x-must-know-beats-featuring-huge-808s-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2023/01/25-free-instruments-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2023/09/Why-upgrade-to-kontrol-s-series-MK3-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/07/top-25-dj-tips-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/07/live-remixing-featured-620x354-c-default.jpg",
"https://blog.native-instruments.com/wp-content/uploads/dynamic/2024/07/10-best-songs-featuring-the-Yamaha-CP-70-keyboard-featured-620x354-c-default.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Sam Taylor"
] |
2020-02-10T12:30:47+01:00
|
We sit down with Josh Eustis to dissect the sounds and techniques behind Dreams Are Not Enough
|
en
|
/wp-content/uploads/fbrfg/apple-touch-icon.png
|
Native Instruments Blog
|
https://blog.native-instruments.com/telefon-tel-aviv-interview/
|
Telefon Tel Aviv, until recently, was a fondly remembered electronic duo with a catalogue of critically acclaimed releases spanning from glitchy, ambient IDM to synth pop and industrial. Following the untimely passing of Charles Cooper in 2009, bandmate Josh Eustis wound-up the project and spent the next several years embarking on a series of new collaborations and solo efforts. First reactivating Telefon Tel Aviv for a one-off live show in 2016, Josh went on to tour extensively under the moniker, eventually releasing Dreams Are Not Enough last year – a full decade after previous album Immolate Yourself.
Since the release, a hectic touring schedule has seen Josh criss-crossing Europe and the US for weeks on end. During a recent stop in Berlin, we invited the Ghostly International signee and one-time Nine Inch Nail to stop by and talk about his approach to sound design, show us the go-to tools behind his latest record, and explain why the ‘wrong’ way is often the best way.
You’ve been incredibly busy these past few years – solo projects, collaborative releases, touring both as Telefon Tel Aviv and with various bands… You released Dreams Are Not Enough in September, and you’re touring that right now. How does it not descend into chaos?
Oh, it descends into chaos, believe me. It does. I don’t really know. I’m not really good at anything except for the act of making the music. I’m terrible at anything else in life. You take me out of the studio and I’m completely useless. So I don’t really know how to manage it. I just do stuff. Sometimes, I’ll sit down and work without even any clear idea and it might get put in this folder, that folder or whatever. As I catalogue ideas, I’ll go, “Oh, this is a Second Woman thing,” or, “Oh, this is a Telefon thing. This is too weepy for Second Woman.”
Then the label, Ghostly, came to me and said, “Hey, dude, are you going to actually do this record or are you just going to fuck around forever? It would be really cool if you did it, especially if you did it now so you’d have time to tour on it next year.”
“Oh, yes, okay.” “Alright, that means we need it by March. Mid-March, you’ve got to get this thing done.” Then, I had a fire in front of my ass. I’d never been given a deadline for a record, and I made it this time. I handed it in a week early.
What state was the record in when you got this deadline?
I had three songs finished as I had been working on this Max patch, cataloguing ideas, saving sound-design patches and stuff like that. Then, I just sat down and went back through all of my catalogued ideas and realised how bad they were, and then started mostly about 95% from scratch at the beginning of this year. I think I was done at the end of March.
How do you know when a record’s done?
You’re done when you give up on it. It could never be finished. I still hear things on the record now where I’m like, “Oh, I wish I hadn’t done that,” or, “I would change that now.” There’s a Driver plugin on a kick drum there on the record at one point and it’s bothering me so much that I don’t bypass the Driver at this point. That’s a plugin that I love.
The distortion in particular is something that really stands out on this record. Was there a specific approach to it?
Yes, it’s not actually distortion. It’s almost a kind of clipping. There are two things that I like to do. Move the DC offset all the way north and things just crater. Then, another thing that happens several times on the record is distortion with theta waves. You just have a sine wave between 4Hz and 7Hz and just push it into the limiter. It’ll just chew everything to pieces. This kind of stuff.
On “Not Seeing,” it seems like the kick drum is triggering the disintegration of the tracks around it. Is that the technique you used there?
In the front part, right? The kick drum is tuned to a theta frequency. It’s just tuned so low that it’s below audio rate. You just hear the beats. It’s a little too loud, and I’ve got a soft-clip thing on the two-mix for the front part of that song to get these inter-sample peaks happening. When that kick drum hits, it breaks the mix.
It’s not so much a kick drum as the absence of everything else, which is one of the themes of the record. It’s not so much about the thing that it is, it’s about what’s not there.
Sure. Compared to previous Telefon Tel Aviv stuff, this record sticks a lot closer to the ‘three things-at-once’ approach.
Yes, a friend of mine, Greg Puciato, told me that and I thought it was a really cool way to think about musical ideas, so I started not really holding myself to it, but keeping in mind that I can trim things down. I like it. I like this idea of self-censorship. I think it’s a lot of fun.
There’s a whole other version of the record with a whole lot of songs which got deleted from the hard drive. Everything got winnowed down to just what it needed to be, hopefully. The track counts are really low on the record. Previously, some Telefon songs would have 60, 70, or 80 tracks, maybe. This one, I think the biggest one has maybe 20 tracks. I kept it really minimal. I started realising that things started sounding bigger the fewer of them that I had.
On every single Telefon Tel Aviv track since 1999, we have used Reaktor. Every single one – all the remixes, everything.
So there’s never been a set recipe for a Telefon Tel Aviv track?
No, and that’s been the big problem for me since the beginning. People would always ask, “What’s your process? How did you make ‘Fahrenheit Fair Enough’?” I was like, “Well, we would sit around and make sound design for a bunch of days. Then, we’d get bored of making sound design. Then, one of us would make a beat and the other one would play bass over it.
But, you could definitely say this: On every single Telefon Tel Aviv track since 1999, we have used Reaktor. Every single one – all the remixes, everything. Reaktor is on every one. Maybe it just generated a kick drum, maybe it did a whole bunch of granular processing…
There’s quite a definite sound-world to this record – a consistent sonic flavor. Was that a conscious choice?
It wasn’t necessarily a conscious choice of, “Oh, I want things to sound glassy or metallic,” but I think in giving myself space to self-censor and to discriminate against my own ideas, anything that was sounding really analog in a way was getting put aside, and these other-worldly, glassier sounds started making the cut.
The last record was so analog and so warm, that I went in the other direction. I started to get bored with my analog gear, and I eventually just got rid of it. Now I’m asking myself, “What do software synthesisers excel at?” It’s those types of things.
Which software are you using? I know you’ve gone deep into Max on this album.
Yes. But the sound generation is mostly Form, honestly. A lot of Form and a lot of Maschine. A lot.
I love FORM. I think people don’t always realise how much it can do.
Form was my baby on this record. You, literally, can drop anything into it and it instantly sounds cool.
Was it a ‘drag-and-drop, trial-and-error’ sort of situation?
Not that much trial and error – a little bit of that. Basically, I would take old TTA sound design and drop it in. It’s all named. Every sound is named, tagged, and categorized. So I would just grab longer pieces, drop them into Form, and then see what it did. I came up with some things that sounded cool to me, accidentally, without really knowing what I’m doing or what it’s doing.
Can you tell us about any specific sounds that were done with Form?
Oh, the first track [“I dream of it often”]. It’s all Form. In track two [“a younger version of myself”], it’s LazerBass and FORM.
We love LazerBass here too. Especially because it’s free.
LazerBass is the wildest shit I’ve ever heard. It’s so crazy. That’s what I made the beat on for track two. That, and then distorted a little. I programmed what I thought was going to be a bassline, then started putting a little chain together. I had a LazerBass thing, and then I had some MIDI notes playing it. Then, I spit out a whole line of it and moved the loop points in Live and got to this point where I was like, “Oh, that’s cool. It’s like a shuffle thing. Alright, that’s it.”
And the rest of the track flowed from that?
Yes, then I had this patch in Form that I’d been working on that I liked. Actually, I think that was a preset where I dropped my own thing in, then changed some stuff and took it somewhere else. It’s like a piano in a way but not a piano. There’s that, and then there’s just the pad that comes in halfway. There’s really not that much in that song.
And this is all running off your custom Max patches?
Yes. I mean, basically, the general framework for this record is very simple. Live is open. A whole bunch of Native Instruments tone generations are open. Then Max is just sending clouds of MIDI to it. Then I sing over it. It’s extremely primitive.
Generally, there’s one thing in the song that’s the main thing, and that’s usually Form. With a couple of exceptions, but it’s usually Form. Then Max is doing this sort of time-compression/expansion thing with the MIDI notes.
I understand you’re also using MASCHINE?
Yes. I end up using that a lot because I find the percussion sound design gets done really quickly. Also, you can go from one thing totally to the other end of the spectrum in a matter of seconds. I open up a bunch of stuff in it and get a bunch of different sounds happening, and then use LFOs to modulate them so they’re never exactly the same. Then, just send tons of MIDI to it from Max.
What’s your process for designing percussion?
The kick drum ensemble is amazing. I use it all the time. All the time. It’s one of the most used things I have in my toolkit. I use that a lot. I like making hi-hats and stuff like that. I don’t really have a set process. I just mess around with it until I have something cool.
Do you allocate time specifically for designing sounds?
Yes. I think I wrote a tip about this. It’s a conscious effort to honour your ideas with effort. If it fails, that’s fine, but the effort is important. That effort means that I need to allow myself space to just wander off into a sound-design world.
So you’re a ‘different hat, different day’ kind of person?
Yes. But when it comes to Telefon Tel Aviv, not for any record at any point was there ever a mix process. There wasn’t ever like, “Okay, time to mix the record.” We get to the end of the song and it’s done. I mix as I go. Of course, when I’m working with other people, it’s totally different, but with Telefon, I’m constantly making little EQ moves. All of that stuff is one process to me.
The mix process is absolutely part of the composition process. Where you play something in the stereo field, how loud it is, how much top end it has, whether it’s intentionally out of phase or in phase… All of the decisions to me are compositional decisions. I don’t really see them as mix decisions.
Right.
Maybe I’m not being totally accurate about this, but there are two ways of thinking about mixing or music production in general. There’s ‘make it as good as you can to present the idea’, and then there’s the way that I do it, which is, sometimes, I make it wrong because it’s more compositionally appropriate for the music.
I mean, it’s funny. The other people that deal with audio a lot are like, “Oh well, this is wrong and that’s out of phase. That’s one distorted.” It’s like, “Yes, it, literally, sounds exactly the way I want it to sound,” so that’s a compositional decision.
If it sounds good, it is good?
Yes, I mean Selected Ambient Works Volume I by Aphex Twin was mastered off a cassette tape. It sounds like dog shit, but it’s perfect. I wouldn’t change anything about it. That’s part of the charm and part of the beauty of it.
There are points on this record where things go completely out of phase… My mastering engineer was like, “Oh, what are you doing, man? You’re killing me.”
But in the end, it sounds great.
I don’t know if it sounds great. But it does sound the way I want it to sound.
Photo credits: Larissa Matheus
Listen to Dreams Are Not Enough below.
|
||||
9034
|
dbpedia
|
0
| 11
|
https://www.nbcchicago.com/local/trans-r-i-p-charlie-cooper-of-telefon-tel-aviv/1865400/
|
en
|
R.I.P. Charlie Cooper of Telefon Tel Aviv
|
[
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Dark.png?fit=432%2C120&quality=85&strip=all&w=144&h=40",
"https://media.nbcchicago.com/2019/09/OTT-Chicago.png?fit=1920%2C1080&quality=85&strip=all&w=400&h=44&crop=1",
"http://i58.photobucket.com/albums/g251/chitty2bling2/GB/ccooper.jpg",
"http://feedads.googleadservices.com/~a/pEG7nUVR5Jcpp-fdFJsDwTS6eKg/i",
"http://feeds2.feedburner.com/~r/gapersblock/transmission/~4/yLbSZ8ADZZE",
"https://media.nbcchicago.com/2024/05/Chicago-web@3x_29d4da.png?fit=717%2C72&quality=85&strip=all",
"https://nbcu.tmsimg.com/assets/p25637924_b_h10_aa.jpg?w=960&h=540",
"https://media.nbcchicago.com/2020/12/CrimeTape-2.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2021/08/106931894-1629743782371-Apple_Crisp_Macchiato.jpeg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/08/wabash-street-closure.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/08/trump-vance-projections-2.png?resize=100%2C56&quality=85&strip=all",
"https://media.nbcchicago.com/2024/08/74575918544__A1224076-B44A-4ED0-AECB-4E3C8130A9E1.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Light.png?fit=432%2C120&quality=85&strip=all",
"https://sb.scorecardresearch.com/p?c1=2&c2=6035083&cv=2.0&cj=1",
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Light.png?fit=432%2C120&quality=85&strip=all"
] |
[] |
[] |
[
""
] | null |
[] |
2009-01-27T16:54:51
|
News has been circulating today concerning the death of Charles Cooper, member of the Chicago-based electronic music outfit Telefon Tel Aviv. Cooper’s body...
|
en
|
NBC Chicago
|
https://www.nbcchicago.com/local/trans-r-i-p-charlie-cooper-of-telefon-tel-aviv/1865400/
|
News has been circulating today concerning the death of Charles Cooper, member of the Chicago-based electronic music outfit Telefon Tel Aviv. Cooper's body was found yesterday, with the date of his death reported as having occurred on Thursday, January 22. As of this morning, the cause of death has yet to be officially declared, pending an autopsy.
The duo of Charles Cooper and Joshua Eustis first began working together as Telefon Tel Aviv in New Orleans during the late 1990s. They released their debut album, Fahrenheit Fair Enough, via Chicago's Hefty Records in 2001 -- an album of lush, jazz-tinged downtempo electronica that caught the attention of listeners and fit perfectly alongside the work of such contemporaries as Prefuse 73 and DJ Shadow. They relocated to the Windy City later that same year, and a second album followed in 2004. Having earned an international fan base, the duo recently signed to Ellen Allien's Berlin-based BPitch Control, and released their third LP exactly one week ago today.
|
|||||
9034
|
dbpedia
|
1
| 9
|
https://www.timescall.com/2024/08/07/israel-court-hears-bid-to-close-prison-where-soldiers-are-accused-of-sexually-assaulting-palestinian/
|
en
|
Israel court hears bid to close prison where soldiers are accused of sexually assaulting Palestinian
|
[
"https://www.timescall.com/wp-content/uploads/2019/04/TimesCall-mainlogo.svg",
"https://www.timescall.com/wp-content/uploads/2024/08/Israel_Palestinians_48209.jpg?w=620",
"https://www.timescall.com/wp-content/uploads/2024/08/Israel_Palestinians_63089.jpg?w=620",
"https://www.dailycamera.com/wp-content/uploads/2024/07/Greenlight-August-Digital-300x100-1.jpg",
"https://www.timescall.com/wp-content/uploads/2024/08/ctc-l-young-voters-climate-31_201990704-1.jpg?w=525",
"https://www.timescall.com/wp-content/uploads/2024/08/ctc-l-dnc-construction013_201397442.jpg?w=504",
"https://www.timescall.com/wp-content/uploads/2024/08/ctc-l-dnc-features-04_201434218.jpg?w=495",
"https://www.timescall.com/wp-content/uploads/2024/08/Election_2024_DNC_Protests_Explainer_70400.jpg?w=525",
"https://www.timescall.com/wp-content/uploads/2019/04/TimesCall-mainlogo.svg"
] |
[] |
[] |
[
""
] | null |
[
"Associated Press"
] |
2024-08-07T00:00:00
|
Rights groups have been engaged in a legal battle since June to shut down the detention facility, known as Sde Teiman.
|
en
|
Longmont Times-Call
|
https://www.bostonherald.com/2024/08/07/israel-court-hears-bid-to-close-prison-where-soldiers-are-accused-of-sexually-assaulting-palestinian/
| ||||||
9034
|
dbpedia
|
0
| 46
|
https://international.tau.ac.il/
|
en
|
TAU International
|
[
"https://www.facebook.com/tr?id=",
"https://www.facebook.com/tr?id=379993301072762&ev=PageView&noscript=1",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/209X110Lowy-logo-for-website.png",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/adaptive/public/digital-health.png?itok=0TLAGWRG",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/adaptive/public/graduation%20banner_0.png?itok=5vyuEfqF",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/adaptive/public/open-research-opportunities%20banner.png?itok=oro80q9M",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/container_block_255_140/public/PHS%20webinar580.png?itok=kanPZ7mG",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image480x270/public/idea%20loading.png?itok=RoVJujKD",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/container_block_255_140/public/internship580X330.png?itok=5MsInXMo",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image230x140/public/buddies%201%20580_3.png?itok=7S9YWgwe",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image230x140/public/hebrew_0.png?itok=dPUYA5_V",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image480x292/public/coming-home-2-580X330.png?itok=gDTYaflt",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image230x140/public/podcast%20maoz%20580.jpg?itok=qoUCh9GT",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image480x292/public/580X330-new-olim2_1.png?itok=ACFVLUA-",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image230x140/public/flags_3.png?itok=DAwgeG3n",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image480x292/public/Website%20Pages%20580%20x%20330%20%2873%29.png?itok=ZLFC-XFo",
"https://international.tau.ac.il/sites/english.register.tau.ac.il/files/styles/image230x140/public/newsletter_0.png?itok=Y0GnJFZ5",
"https://international.tau.ac.il/sites/default/files/footer_logo/TAU_university_logo_ENG.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
TAU International
|
en
|
https://international.tau.ac.il/sites/all/themes/tau_v2/favicon.ico
|
https://international.tau.ac.il/home
|
Program helps students to take charge of the digital healthcare revolution
The Class of 2024 Is Ready to Change the World
Tel Aviv University celebrates the accomplishments of this year's graduating class
|
|||||
9034
|
dbpedia
|
2
| 49
|
https://www.instagram.com/p/C8o9gulMc2L/
|
en
|
Instagram
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
9034
|
dbpedia
|
3
| 29
|
https://twitter.com/telefontelaviv/status/1772629879118320067
|
en
|
x.com
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
9034
|
dbpedia
|
0
| 0
|
https://en.wikipedia.org/wiki/Telefon_Tel_Aviv
|
en
|
Telefon Tel Aviv
|
[
"https://en.wikipedia.org/static/images/icons/wikipedia.png",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg",
"https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%28Seattle_2006%29.jpg/267px-Telefon_Tel_Aviv_%28Seattle_2006%29.jpg",
"https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Telefon_Tel_Aviv_%28Trento_2009%29.jpg/250px-Telefon_Tel_Aviv_%28Trento_2009%29.jpg",
"https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png",
"https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png",
"https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1",
"https://en.wikipedia.org/static/images/footer/wikimedia-button.svg",
"https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg"
] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2004-09-28T20:03:46+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Telefon_Tel_Aviv
|
American electronic music project
Telefon Tel Aviv is an American electronic music act formed in 1999 by musicians Charles Cooper and Joshua Eustis. Since Cooper's accidental death in 2009, Telefon Tel Aviv has continued with Eustis as the sole official member.[1]
History
[edit]
Telefon Tel Aviv was formed in 1999 by Charles Cooper and Joshua Eustis, with their first album Fahrenheit Fair Enough, released in the fall of 2001 to positive reviews. In 2002, the group released an EP on the Hefty Records Immediate Action label. In 2004, the duo released their second full-length album, Map of What Is Effortless, and a compilation album of remixes titled Remixes Compiled in 2007. The group released its third full-length album in January 2009 on the BPitch Control label. Influenced by English electronic band Orchestral Manoeuvres in the Dark (OMD),[2] Immolate Yourself peaked at #17 on the Billboard Top Electronic Albums chart.[3] In 2016, their debut was re-released with eight bonus tracks.[4]
Since 2011, Eustis has been working on new music. In March 2012, Eustis mentioned on his Twitter account that he was "trying" to work on new Telefon Tel Aviv material.[5] In February 2013, Eustis was announced as a member of the touring lineup of Nine Inch Nails. He was originally slated to tour with band throughout 2013 and 2014.[6] However, on December 5, 2013, it was revealed by Trent Reznor that Eustis was no longer part of the Nine Inch Nails touring line-up, citing only Alessandro Cortini, Ilan Rubin, Robin Finck, and himself as band members during an IAmA on Reddit.[7] Eustis also confirmed this on the official Telefon Tel Aviv website.[8]
Death of Charles Cooper
[edit]
On January 22, 2009, Eustis announced on the group's MySpace blog that Charles Cooper had died. The information also appeared on the band's website: "Charles Wesley Cooper III / April 12, 1977 - January 22, 2009". Two CBS2 Chicago articles about Cooper's death specify that he went missing on January 21 before being found dead.[9][10]
On January 30, 2009, Eustis posted on the group's MySpace blog that all tour plans have been cancelled and the future of the band is uncertain.[11]
On March 22, 2009, Eustis posted on the group's MySpace blog that he will perform on stage with a close friend of the group, Fredo Nogueira.[12]
On July 22, 2009, Eustis posted on the group's MySpace in order to clarify some rumours about Cooper's death, stating that three autopsy reports ruled it was not a suicide but possibly an accidental mix of sleeping pills and alcohol.[13]
Sons Of Magdalene and Future
[edit]
On December 9, 2013, Josh Eustis posted on the official Telefon Tel Aviv website that he was going back into the studio full-time, as he was no longer a touring member of Nine Inch Nails and presumably Puscifer as well. In the same post, Eustis stated that he has been sitting on a 95% finished full-length album under the moniker of Sons Of Magdalene, a name previously used for an EP released in 2008. Additionally, the post confirmed that after the record was finished, he would be working on Telefon Tel Aviv full-time.[14] The debut album from the Sons of Magdelene moniker, Move to Pain, was released June 24 2014.
Production
[edit]
In interviews, Cooper and Eustis have stated that they use the following software: Digidesign Pro Tools, Native Instruments Reaktor/Electronic Instruments 2 XT, Ableton Live and Max/MSP
Additionally, the band has contributed samples to the Native Instruments Synthetic Drums 2 sample library.[15]
For the album Immolate Yourself the band drastically changed their production style, reverting to analog tape and analog synthesizers, claiming this method to "sound more real".[16]
Discography
[edit]
Studio albums
[edit]
2001: Fahrenheit Fair Enough
2004: Map of What Is Effortless
2009: Immolate Yourself (#17 Billboard Top Electronic Albums)
2019: Dreams Are Not Enough (#2 Billboard Top Electronic Albums)
Extended plays
[edit]
2002: Immediate Action
Compilations
[edit]
2007: Remixes Compiled
Remixes and Collaborations
[edit]
2000: John Hughes - "Got Me Lost / Driving In LA" (Immediate Action#6)
2000: Nine Inch Nails - "Where Is Everybody?" (Things Falling Apart)
2001: Phil Ranelin - "Time Is Running Out" (Remixes)
2003: Midwest Product - "A Genuine Display" (Idol Tryouts : Ghostly International Vol. 1)
2004: Slicker - "Knock Me Down Girl" (Knock Me Down Girl)
2005: Marc Hellner - "Asleep On The Wing" (Asleep On The Wing)
2005: Apparat - "Komponent" (Silizium EP)
2005: Oliver Nelson - "Stolen Moments" (Impulsive! Revolutionary Jazz Reworked)
2005: Bebel Gilberto - "All Around" (Bebel Gilberto Remixed)
2005: AmmonContact - "BBQ Plate" (Microsolutions To Megaproblems)
2005: Nitrada - "Fading Away" (Four Remixes)
2007: 刀郎 - "艾里甫與賽乃姆" (Dancing With Dao Lang (與刀郎共舞))
2008: Apparat - "Arcadia" (Arcadia Rmxs)
2008: Genghis Tron – "Relief" (Board Up The House Remixes Volume 4)
2008: Barbara Morgenstern - "Come To Berlin" (Come To Berlin Mixes)
2009: Art Of Trance - "Swarm" (Swarm)
2011: SONOIO - "Can You Hear Me?" (NON SONOIO - Red Remixes)
2012: Cubenx – "Grass" (Grass Remixes)[17]
2013: Dillon and Telefon Tel Aviv - "Feel the Fall" (Where the Wind Blows)
2015: Lusine - "Arterial" (Arterial Reworks)[18]
2016: Vatican Shadow & Telefon Tel Aviv - "Rejoice" (Compilation by #savefabric)
2017: These Hidden Hands - "Glasir" (Vicarious Memories Remixed)
2018: Belief Defect - "Deliverance" (Remixed 01)
2019: Shlømo - "Hadal Skin" (Mercurial Skin Remixes: Tome 2)
2020: Bochum Welt - "Color Me" (Seafire Remixes)
2021: Modeselektor - "Mean Friend" (Telefon Tel Aviv Remix)[19]
2021: Deftones - "Digital Bath" (RSD 12")
2022: Stimming - "Judith Maria" (Telefon Tel Aviv Remix)
2023: Sheena Ringo - "Gate of Hades"
Appearances (Eustis)
[edit]
2004: A Perfect Circle - eMOTIVe
2011: Puscifer - Conditions of My Parole
2012: Puscifer - Donkey Punch the Night
2013: Puscifer - All Re-Mixed Up
2013: Nine Inch Nails - Hesitation Marks
2016: The Black Queen - Fever Daydream
2016: Second Woman - Second Woman[20]
2018: The Black Queen - Infinite Games[21]
Under "Sons of Magdalene" moniker
2008: Ephemera[22][23]
2014: Move to Pain
2015: Ecumenicals[24]
References
[edit]
|
||||||
9034
|
dbpedia
|
0
| 93
|
https://www.mathworks.com/company/aboutus/contact_us.html
|
en
|
MathWorks - Contact Us - Worldwide Offices and Representatives
|
https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/favicon.20240807145759133.ico
|
https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/favicon.20240807145759133.ico
|
[
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/mathworks-logo-rev.20240807145759133.svg",
"https://www.mathworks.com/company/aboutus/contact_us/_jcr_content/mainParsys/band_copy/mainParsys/column_0_copy/1/panel/panelParsys/pictogram_copy.adapt.full.medium.svg/1721827285868.svg",
"https://www.mathworks.com/company/aboutus/contact_us/_jcr_content/mainParsys/band_copy/mainParsys/column_0_copy/2/panel/panelParsys/pictogram_copy.adapt.full.medium.svg/1721827285950.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/pic-header-mathworks-logo.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-facebook.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-twitter.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-instagram.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-youtube.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-linkedin.20240807145759133.svg",
"https://www.mathworks.com/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/ico-rss.20240807145759133.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Find contact information for worldwide offices, sales and service, support, product feedback, third-party programs, book program, public relations, job openings, and Web site feedback.
|
en
|
/etc.clientlibs/mathworks/clientlibs/customer-ui/templates/common/resources/images/favicon.20240807145759133.ico
|
https://www.mathworks.com/company/aboutus/contact_us.html
|
Select a Web Site
Choose a web site to get translated content where available and see local events and offers. Based on your location, we recommend that you select: .
|
|||
9034
|
dbpedia
|
0
| 85
|
https://www.spglobal.com/en/contact-us/office-locations
|
en
|
Office Locations
|
[
"https://spglobal.scene7.com/is/image/spglobalcom/sandp-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/MarketIntelligence-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CommodityInsights-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPDowJonesIndices-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Mobility-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Sustainable1-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/MarketIntelligence-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CommodityInsights-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPDowJonesIndices-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Mobility-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Sustainable1-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/sandp-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/MarketIntelligence-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CommodityInsights-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPDowJonesIndices-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Mobility-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Sustainable1-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/MarketIntelligence-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CommodityInsights-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPDowJonesIndices-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Mobility-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Sustainable1-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FindARating-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FindARating-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_sustainability_banner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0416_economyvertical_horizontal?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_capitalmarketsbanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0606_GlobalTradeheader?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_energy_commodities?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_technologybanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/1920x1020-geopoliticalrisk?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/aiinsights_1570x890?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FeaturedSPGlobalEvents-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/WebinarReplays-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CERAWeek-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_sustainability_banner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0416_economyvertical_horizontal?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_capitalmarketsbanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0606_GlobalTradeheader?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_energy_commodities?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_technologybanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/1920x1020-geopoliticalrisk?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/aiinsights_1570x890?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FeaturedSPGlobalEvents-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/WebinarReplays-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CERAWeek-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FindARating-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPCapitalIQPro-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/PlattsConnect-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPGlobalESGScores-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/AutoCreditInsight-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Ratings360-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/SPICETheIndexSourceForESGData-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/OverviewRatings-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FindARating-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_sustainability_banner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0416_economyvertical_horizontal?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_capitalmarketsbanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0606_GlobalTradeheader?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_energy_commodities?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_technologybanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/1920x1020-geopoliticalrisk?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/aiinsights_1570x890?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FeaturedSPGlobalEvents-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/WebinarReplays-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CERAWeek-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_sustainability_banner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0416_economyvertical_horizontal?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_capitalmarketsbanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0606_GlobalTradeheader?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/Corp_0424_energy_commodities?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/corp_0417_technologybanner?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/1920x1020-geopoliticalrisk?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/aiinsights_1570x890?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/FeaturedSPGlobalEvents-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/WebinarReplays-1?$responsive$",
"https://spglobal.scene7.com/is/image/spglobalcom/CERAWeek-1?$responsive$"
] |
[] |
[] |
[
""
] | null |
[] | null |
With over 70 offices in 28 countries, we gather intelligence in every corner of the globe, to deliver the credit ratings, assessments and analyses that governments, companies and individuals depend on all over the world.
|
en
|
S&P Global
|
https://www.spglobal.com/en/contact-us/office-locations
|
With over 70 offices in 35 countries, we gather intelligence in every corner of the globe, to deliver the credit ratings, assessments and analyses that governments, companies and individuals depend on all over the world.
|
|||||
9034
|
dbpedia
|
0
| 89
|
https://www.rapid7.com/contact/
|
en
|
Contact Rapid7: Need to Reach Us? Here's How.
|
[
"https://www.rapid7.com/Areas/Docs/includes/img/r7-nav/Rapid7_logo.svg",
"https://www.rapid7.com/Areas/Docs/includes/img/r7-nav/icon-lock.svg",
"https://www.rapid7.com/Areas/Docs/includes/img/r7-nav/Rapid7_logo.svg",
"https://www.rapid7.com/Areas/Docs/includes/img/r7-nav/icon-lock.svg",
"https://www.rapid7.com/Areas/Docs/includes/img/r7-nav/Rapid7_logo-short.svg",
"https://www.rapid7.com/includes/img/up-arrow-lightgray.png?width=1200",
"https://www.rapid7.com/includes/img/Rapid7_logo.svg?width=1200&quality=90"
] |
[] |
[] |
[
""
] | null |
[] | null |
Rapid7 contact information for our offices, sales, support, press, and investors.
|
en
|
/includes/img/favicon.ico
|
Rapid7
|
https://www.rapid7.com/contact/
|
Issues with this page? Please email info@rapid7.com. Please see updated Privacy Policy
This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.
|
||||
9034
|
dbpedia
|
0
| 82
|
https://www.swedenabroad.se/en/embassies/usa-washington/contact/
|
en
|
Contact info
|
https://www.swedenabroad.se/wwwroot/favicons/favicon.ico
|
https://www.swedenabroad.se/wwwroot/favicons/favicon.ico
|
[
"https://www.swedenabroad.se/globalassets/hero/sa-country-pattern-sweden-embassy.svg",
"https://maps.googleapis.com/maps/api/staticmap?markers=color:red%7C38.901688,-77.059007&zoom=14&size=640x370&key=AIzaSyBGSbkmoHFZKubcstLKjh_NXmZo7kp2lSI"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/wwwroot/favicons/favicon.ico
|
Sweden Abroad
|
https://www.swedenabroad.se/en/embassies/usa-washington/contact/
|
Embassy opening hours and drop-in consular service:
Monday-Thursday 10:00 am - 12:00 pm and Friday 10:30 am - 12:30 pm
The drop-in consular service includes (service for Swedish citizens): (Swedish passport, ID and driver’s license pick up, life certificates, legalisations, coordination number applications, general questions etc) Please note that migration related issues will not be excepted during these time slots (ie. ID checks, visa/permit application questions).
Schedule a passport appointment: Passports - Sweden Abroad
Please schedule your passport appointment through the above link, available appointments may be scheduled until October 31, 2024. If no appointments are visible in the above link, we are unfortunately fully booked and we kindly ask you to check back at a later date.
Questions about passport services: ambassaden.washington-pass@gov.se
In case of an emergency outside regular office hours, call the Embassy and follow the instructions.
Questions about migration: visa.washington@gov.se Phone hours for specific migration questions is available on Mondays and Wednesdays between 1:30 - 2:30 pm. Please call 202-467-2694.
|
|||
9034
|
dbpedia
|
0
| 7
|
https://www.myspiltmilk.com/articles/telefon-tel-aviv-take-two
|
en
|
Telefon Tel Aviv, Take Two — My Spilt Milk
|
http://static1.squarespace.com/static/5e7e21afd5867b7bafbf8cd6/5e9624490f99ab3acab99290/5e9627f50f99ab3acabab049/1677819787025/?format=1500w
|
http://static1.squarespace.com/static/5e7e21afd5867b7bafbf8cd6/5e9624490f99ab3acab99290/5e9627f50f99ab3acabab049/1677819787025/?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586966770195-H4B2LJBOZLBBN3BGMQUK/MSM-logo.png",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586966770195-H4B2LJBOZLBBN3BGMQUK/MSM-logo.png",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586903132420-2MVEE2WIR8WEM8VK3CDX/image-asset.jpeg",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586906441903-UHBB8U9RENF0E3B7Z7IB/tta_press_1-credit_corinne_schiavone-700x588.jpg",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586903200893-S29ZE8YR4VO03EBEF8UF/image-asset.jpeg",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1586903344944-4G3I6XN1KRLE3G1SNQL1/image-asset.png",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1587139029899-FVNNY3D7JOFHSKZL4R1H/erykah+badu.jpeg",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1651157828465-3HP71GS7WQ0BSV47GEKG/79rs%2Bgang%2B2.png",
"https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1678459704717-L28647N9EH33LZBCKUIP/IMG_0192.jpeg"
] |
[] |
[] |
[
""
] | null |
[
"Alex Rawls"
] |
2016-12-12T23:57:11-06:00
|
One half of the New Orleans-born electronic duo tries to see if he can return to the project without his late partner. When Nine Inch Nails played Voodoo 2013 , Joshua Eustis was part of the band. He was born here, went to Loyola where he studied music composition, and it was here that he formed t
|
en
|
https://images.squarespace-cdn.com/content/v1/5e7e21afd5867b7bafbf8cd6/1585433730170-OBAGPS306M01GD72UZ1V/favicon.ico
|
My Spilt Milk
|
https://www.myspiltmilk.com/articles/telefon-tel-aviv-take-two
|
One half of the New Orleans-born electronic duo tries to see if he can return to the project without his late partner.
When Nine Inch Nails played Voodoo 2013, Joshua Eustis was part of the band. He was born here, went to Loyola where he studied music composition, and it was here that he formed the band that got him out of town—Telefon Tel Aviv. It wasn’t that he wanted to leave, but the duo’s recently re-released debut album, Fahrenheit Fair Enough—with eight previously unreleased tracks—occupies a space that didn’t have an audience in the late 1990s. On it, mechanic buzzes, whirs and ticks simultaneously animate and interrupt melancholy electronic dance music. “TTv” begins with a placid two-chord pattern on what sounds like an electric piano, but it comes to itchy life when disruptive sounds skitter around, darting from side to side and back and forth between the speakers while a gentle, Eastern melody joins the mix. It doesn’t assert itself as much as it calmly comes into being, creating a zen moment that almost draws your attention away from the glitchy elements. Almost. Take out the sad undercurrents and you get Aphex Twin—one admitted influence. Push the mechanical elements and you get Autechre—another.
At the time, the New Orleans music establishment didn’t embrace electronic music, seeing it as a confrontation to the idea that the city’s music was an expression of its humanity. To be fair to New Orleans, many city’s scenes had similar reservations about techno and other electronic musics. The audience for it flew under radar, but it existed. Disco Donnie’s parties at the State Palace Theater had already become events, and Telefon Tel Aviv found an audience too, but it was much smaller and didn’t extend much beyond Monaco Bob’s, The Abstract Café and the RC Bridge Lounge.
“We played shows, but it was house parties and little clubs,” he says. On a tip, Eustis sent a tape of the album that would become Fahrenheit Fair Enough to Hefty Records in Chicago. “He called us the next day and said I love this and want to put it out, and it became evident that we needed to be there,” Eustis says. “We kept hearing from peers that we could do this in Chicago and play in bigger clubs and get bigger crowds, and people were appreciative of it. We were, like, We’re throwing seeds on concrete here in New Orleans. Let’s go somewhere where this makes more sense.”
Telefon Tel Aviv released three more albums—Map of What is Effortless (2004), Remixes Compiled (2007), and Immolate Yourself (2009)—before bandmate Charlie Cooper died tragically and mysteriously that year at the age of 31. Eustis honored the duo’s remaining touring obligations, but soon afterwards he put the Telefon Tel Aviv name down.
Eustis and Cooper met in 1998 at a department store downtown. Eustis was with his girlfriend and Cooper was with his. Somehow, the two found each other and started talking about gear and “weirdo, outsider electronic music,” Eustis recalls. “He said, Hey, I’m working on this thing right now and I’m stuck. Why don’t I bring it over and let’s see if we can work on it together. It ended up being ‘Introductory Nomenclature’ which is the second-to-last song on the first record.”
The two quickly figured out their working relationship. “If a Telefon Tel Aviv song was like a plate of food, I’d be the guy who put the salmon on there, and the green beans and the rice,” he says. “I would dress it up, then I would pass it to Charlie and he would smear it around like a grumpy kid. I'd throw paint on the canvas and he'd come in and smudge it around and make it a complete work.”
Eustis hears the band’s influences at the time when he listens to Fahrenheit Fair Enough. In addition to Aphex Twin and Autechre, the duo were influenced by Steve Reich, The Sea and Cake, Tortoise, Stereolab, and New Orleans bounce. “All the beat structures are lifted from bounce rap,” he says. Beyond that, it’s hard for him to think about the choices they made musically. “I don’t think about it like that, but it definitely makes me feel like a 21 year-old punk again,” Eustis says. He has lived in Los Angeles for the last five and a half years, and he can’t hear Fahrenheit Fair Enough without recalling the circumstances of its making. “I was living at my mom’s house and Charlie would come over every day,” he says. “We’d go out and get wasted all night, work all morning, then sleep all day. It reminds me of a really fun time in my life when we were partying like idiots.”
Telefon Tel Aviv never again sounded as glitchy as it does on Fahrenheit Fair Enough. They’d taken that as far as they could, Eustis thinks. “But with new technology today, who knows?” It remained part of their sound, but they folded strings into five songs on Map of What is Effortless, giving the album the lushness that Fahrenheit Fair Enough hinted at. Tracks were less zen and more noir-ly romantic on Map of What is Effortless and Immolate Yourself, the latter with song structures and a sonic vocabulary that anticipated the return to electro pop.
Since Cooper’s passing, Eustis has stayed busy, including the tour with Nine Inch Nails—a relationship that started while both bands were based in New Orleans. They met in 1995, and when Trent Reznor heard through a friend of a friend the tape that Telefon Tel Aviv sent Hefty, he invited Eustis and Cooper to work with him on collaborations and remixes. The one they did for “Even Deeper” is on Remixes Compiled. “For a few months, we were in Nothing Studios, which was pretty cool,” he says. Before the Nine Inch Nails tour, he did production work and helped others with their music. Without Cooper, Eustis had a hard time deciding what his music was, and that uncertainty meant he wasn’t sure he was ready to get others involved, either as collaborators or business partners.
Eventually though, Cooper’s absence became a manageable reality. “You never find full-on peace with it, but there came a point when I got used to him not being around,” Eustis says, then corrects himself. “You don’t get used to it. You get better at dealing with.” He found his voice if for no other reason than because he had to. He had been the linear thinker of the two and had to round out the way he approached music. “I’ve always been more about order and building and he was about chaos and entropy and breaking things and destruction and lighting things on fire,” he says. “ Now I think about music more architecturally and spatially instead of from left to right.”
In 2014, he released Move to Pain under the name Sons of Magdalene, and he has a project called The Black Queen with Greg Puciato of Dillinger Escape Plan. He and Turk Dietrich of New Orleans’ Belong released a self-titled album this year for their project, Second Woman, and have another album coming out early next year. Eustis knew Deitrich before he met Cooper, and the three of them and Fredo Nogueira—who subbed for Cooper on the final Telefon Tel Aviv tour—were constant companions during the band’s formative years. “The four of us were inseparable,” Eustis says. “If Charlie and I had something playable, we immediately took it to Turk’s house for Turk and Fredo, and vice versa.” Second Woman got hot quickly, perhaps because of that background. They played Atonal Festival in Berlin last August two months after releasing their debut album, and they recorded the second album before that one had been released.
They’ve got plans for activity after the second album is released, but Eustis is careful to carve out time to finish new material that he will release as Telefon Tel Aviv. He doesn’t have a release date yet that he’s comfortable talking about because he still has things to figure out.
“Now everything’s at a state where I would give it to Charlie and he would break it,” he says. “What would he do here? How would he change this? I have to try to enter his headspace and think about what he would have done to these pieces of music.”
|
||
9034
|
dbpedia
|
2
| 62
|
https://www.bankhapoalim.com/en/contact-us
|
en
|
Bank Hapoalim
|
https://www.bankhapoalim.com/sites/all/themes/poalim/favicon.ico
|
https://www.bankhapoalim.com/sites/all/themes/poalim/favicon.ico
|
[
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/PopUpCookies/coffee.svg",
"https://www.bankhapoalim.com/sites/all/themes/poalim/images/hamburger.svg",
"https://www.bankhapoalim.com/sites/all/themes/poalim/images/search.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/about%20us/group-33.png",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/assistent.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/Globe.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/help%281%29.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/settings.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/heart.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/add.svg",
"https://www.bankhapoalim.com/sites/bnhpcom/files/media/com/GreyIcon/bank.svg",
"https://www.bankhapoalim.com/sites/all/themes/poalim/images/combined-shape.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Contact us and leave a message on the contact form at the Bank Hapoalim website.
|
en
|
/sites/all/themes/poalim/favicon.ico
|
https://www.bankhapoalim.com/ar/node/202
| ||||
9034
|
dbpedia
|
2
| 19
|
https://www.wikiwand.com/en/Telefon_Tel_Aviv
|
en
|
Telefon Tel Aviv
|
[
"https://wikiwandv2-19431.kxcdn.com/_next/image?url=https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%2528Seattle_2006%2529.jpg/640px-Telefon_Tel_Aviv_%2528Seattle_2006%2529.jpg&w=640&q=50",
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%28Seattle_2006%29.jpg/267px-Telefon_Tel_Aviv_%28Seattle_2006%29.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Telefon Tel Aviv is an American electronic music act formed in 1999 by musicians Charles Cooper and Joshua Eustis. Since Cooper's accidental death in 2009, Telefon Tel Aviv has continued with Eustis as the sole official member.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/Telefon_Tel_Aviv
|
American electronic music project / From Wikipedia, the free encyclopedia
Dear Wikiwand AI, let's keep it short by simply answering these key questions:
Can you list the top facts and stats about Telefon Tel Aviv?
Summarize this article for a 10 year old
SHOW ALL QUESTIONS
|
|||||
9034
|
dbpedia
|
0
| 41
|
https://www.minutemedia.com/about/contact
|
en
|
Contact
|
[
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/639f94ab66f416a31e162664_MM%20Logo%20Color%20Symbol.png",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/648dd59769c6439e2ef2cea3_MM%20Logo%20White%20Symbol.png",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e04a57788c99e00a8bd0b64_MM%20New%20Logo-03.png",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/61a91d4e50eed03b10f3cb3c_AdobeStock_126216157.jpg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/61a925c33e7e62e8f4f7f6f8_AdobeStock_220676674.jpg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/61a927dc5e1734090a95c951_AdobeStock_108472954.jpg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e660605bc2ae51cc4235ff4_photo-1429554429301-1c7d5ae2d42e.jpeg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e66068e415f1e41c04d7bac_photo-1542385939-cac37e190818.jpeg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e66072c68556a791840fa33_photo-1578309640980-563b75751f7f.jpeg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/61a971b149142b65c2c9596d_AdobeStock_188170895.jpg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e66088468556abdec410581_photo-1532236204992-f5e85c024202.jpeg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/61a97275388c67183674abc4_AdobeStock_196067437.jpg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/635ad3cbe3bc1b40ba871476_WPP-horizontal.svg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e04a57788c99e00a8bd0b64_MM%20New%20Logo-03.png",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e68ee87e3a01a809879df68_facebook-box-fill.svg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e6e06f21489078fceca8aa2_twitter-fill.svg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5e6e07101489073a22ca8adf_instagram-fill.svg",
"https://cdn.prod.website-files.com/5e04796b478a40750cf371bc/5f33d028e02188bf2e72a08d_linkedin-box-fill.svg",
"https://px.ads.linkedin.com/collect/?pid=1999866&fmt=gif"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
Join Our Talented Team!
We're always looking for incredible, passionate people to join our journey. Come see our open roles to see if any are a perfect fit.
|
||||||||
9034
|
dbpedia
|
0
| 16
|
https://musicbrainz.org/artist/453f1594-112e-4d3c-921a-8d14e9c97b2e
|
en
|
Telefon Tel Aviv
|
[
"https://static.metabrainz.org/MB/header-logo-1f7dc2a.svg",
"https://static.metabrainz.org/MB/search-52f8034.svg",
"https://static.metabrainz.org/MB/filter-a7c3d16.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Type: Group, Founded: 1999 in New Orleans, Area: Los Angeles
|
en
|
/static/images/favicons/apple-touch-icon-57x57.png
| null | ||||||
9034
|
dbpedia
|
2
| 5
|
https://ghostly.com/artists/telefon-tel-aviv
|
en
|
Ghostly International
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
The late 1990s was a fertile time in the American electronic underground. A growing body of artists, spread around the nation, were engaging in the latest round of a decades-long transatlantic musical conversation. At the convergence of…
|
en
|
https://ghostly.com/artists/telefon-tel-aviv
| |||||||
9034
|
dbpedia
|
3
| 34
|
https://www.last.fm/music/Telefon%2BTel%2BAviv
|
en
|
Telefon Tel Aviv music, videos, stats, and photos
|
[
"https://www.last.fm/static/images/defaults/player_default_album.430223706b14.png",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b86ead6cb3d854a5f17fc1af73f5f71b.jpg",
"https://img.youtube.com/vi/MQ2qEah8Fns/0.jpg",
"https://www.last.fm/static/images/dummy_user1_48@2x.55894782493f.png",
"https://www.last.fm/static/images/dummy_user2_48@2x.f6167a344161.png",
"https://www.last.fm/static/images/dummy_user3_48@2x.328e35aa45e7.png",
"https://lastfm.freetls.fastly.net/i/u/300x300/cdeeb5757b0645238ba356275e959186.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/9945f056bea1c7a91666e359fd37886d.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0fce03ff75b319705df0552472e159fb.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/156c3f8a483749ef7faba71e9ab401fc.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/741c5f4224e54218c27b0fcee6a85fe2.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/741c5f4224e54218c27b0fcee6a85fe2.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/88bc4e47d4ffc0eab18f8759e96be5ac.jpg",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/e2c183f9c3fc46d3c6d2d1b7644f313f",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/5fe22d54f9b645bc819f6ff3957e0c75",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/8119559a57cd4d9a910bc86764f22192",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9700b8e91e62b9ba9736ba9973ad8eac",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/894cc596c35f134f05e14b31f731349b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b5ed94201c084a46a9070fe1e1d24231",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/37eed8e90fd0416fbb4e71ca698a49d7",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/ee683ed561d04b7a991c46c0b3caf4df",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9392b056ea50657d04378d561091d82b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/0c6c18c4657843ca819e9a0f7d84ee52",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/e2c183f9c3fc46d3c6d2d1b7644f313f",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/5fe22d54f9b645bc819f6ff3957e0c75",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/8119559a57cd4d9a910bc86764f22192",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9700b8e91e62b9ba9736ba9973ad8eac",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/894cc596c35f134f05e14b31f731349b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b5ed94201c084a46a9070fe1e1d24231",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/37eed8e90fd0416fbb4e71ca698a49d7",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/ee683ed561d04b7a991c46c0b3caf4df",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9392b056ea50657d04378d561091d82b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/0c6c18c4657843ca819e9a0f7d84ee52",
"https://lastfm.freetls.fastly.net/i/u/300x300/cdeeb5757b0645238ba356275e959186.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/9945f056bea1c7a91666e359fd37886d.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0fce03ff75b319705df0552472e159fb.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0201524b040a45ecc513d8925cf3ce51.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/a61e4b6956b147f4ac6acad88774c714.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/66cbaefb8480570434f09841b4e99a28.jpg",
"https://www.last.fm/static/images/footer_logo@2x.49ca51948b0a.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-02-19T00:00:00
|
Listen to music from Telefon Tel Aviv like Fahrenheit Fair Enough, The Birds & more. Find the latest tracks, albums, and images from Telefon Tel Aviv.
|
en
|
Last.fm
|
https://www.last.fm/music/Telefon%2BTel%2BAviv
|
188 186 200 172 185 155 166 209 220 217 195 194 172 178 186 204 217 211 204 197 174 188 194 206 215 206 209 169 171 182 196 176 183 165 179 195 209 204 212 193 153 170 193 203 223 217 164 160 142 160 174 195 170 186 142 162 181 231 196 206 184 172 169 181 211 194 201 184 147 173 187 167 179 177 166 112 156 165 203 158 191 200 150 148 179 173 173 201 175 153 156 179 195 198 221 180 168 172 168 172 189 187 185 164 163 185 186 191 177 197 149 145 170 182 175 186 168 155 163 187 202 186 176 184 155 148 156 167 203 199 199 154 170 188 210 198 191 162 139 145 173 191 215 171 186 171 137 189 188 166 168 159 143 149 179 170 172 176 169 140 156 163 170 174 178 170 152 165 179 186 188 193 157 152 152 159 195 163 177 171 172 188 186 200 172 185 155 166 209 220 217 195 194 172 178 186 204 217 211 204 197 174 188 194 206 215 206 209 169 171 182 196 176 183 165 179 195 209 204 212 193 153 170 193 203 223 217 164 160 142 160 174 195 170 186 142 162 181 231 196 206 184 172 169 181 211 194 201 184 147 173 187 167 179 177 166 112 156 165 203 158 191 200 150 148 179 173 173 201 175 153 156 179 195 198 221 180 168 172 168 172 189 187 185 164 163 185 186 191 177 197 149 145 182 175 186 168 155 163 187 202 186 176 184 155 148 156 167 203 199 199 154 170 162 139 145 173 191 215 171 186 171 137 189 188 166 168 159 143 149 179 170 172 176 169 140 156 163 170 174 178 170 152 165 179 186 188 193 157 152 152 159 195 163 177 171 172
|
|||||
9034
|
dbpedia
|
2
| 78
|
https://earcandymusic.biz/telefon-tel-aviv-fahrenheit-fair-enough-2x-lp-colored-vinyl/
|
en
|
Telefon Tel Aviv - Fahrenheit Fair Enough - 2x LP Colored Vinyl
|
[
"https://cdn11.bigcommerce.com/s-99klc1qm/images/stencil/105x50/logo_1456878420__36463.original.png",
"https://cdn11.bigcommerce.com/s-99klc1qm/stencil/5b9c5780-f538-013c-90ce-4e32cb778d6e/icons/BenBois_Vinyl_records.svg",
"https://cdn11.bigcommerce.com/s-99klc1qm/stencil/5b9c5780-f538-013c-90ce-4e32cb778d6e/img/loading.svg",
"https://cdn11.bigcommerce.com/s-99klc1qm/images/stencil/728x728/products/59792/101505/c0009876__26102.1481695241.jpg?c=2",
"https://cdn11.bigcommerce.com/s-99klc1qm/images/stencil/105x50/logo_1456878420__36463.original.png"
] |
[] |
[] |
[
"reissue sky blue wax"
] | null |
[] | null |
This sky-colored vinyl release is limited to 1,000 units worldwide. The late 1990s was a fertile time in the American electronic underground. At the convergence of hip-hop, electronic, and soul music, these artists sought to carve out their own lane.
|
en
|
Ear Candy Music
|
https://earcandymusic.biz/telefon-tel-aviv-fahrenheit-fair-enough-2x-lp-colored-vinyl/
|
A1Fahrenheit Fair EnoughA2TTVA3Lotus Above WaterB1John Thomas On The Inside Is Nothing But FoamB2Life Is All About Taking Things In And Putting Things OutC1Your Face Reminds Me Of When I Was OldC2What's The Use Of Feet If You Haven't Got Legs?D1Introductory Nomenclature
|
|||||
9034
|
dbpedia
|
0
| 98
|
https://cradlepoint.com/about-us/contact-us/
|
en
|
Contact Us
|
[
"https://cradlepoint.com/wp-content/uploads/2023/06/contact-us-800x874-1.jpg",
"https://img.cradlepoint.com/auto-mapping-folder/2022/04/cradlepoint-ericsson-logo-footer-378x70-1.png",
"https://img.cradlepoint.com/auto-mapping-folder/2020/03/footer-telephone.webp",
"https://img.cradlepoint.com/auto-mapping-folder/2020/08/footer-map-2-sm.webp",
"https://img.cradlepoint.com/auto-mapping-folder/2020/08/footer-map-2-sm.webp"
] |
[] |
[] |
[
""
] | null |
[] |
2023-07-08T01:33:25+00:00
|
Cradlepoint is here to help. Let us know what you need, and we will help you find the right answer or solution.
|
en
|
Cradlepoint
|
https://cradlepoint.com/about-us/contact-us/
|
Speak with our team
+1.855.813.3385
We're always looking to help — whether you're seeking technical knowledge about a Cradlepoint product or even just general information about how to acquire our fantastic wireless edge solutions. Let us know what you need and we'll help you get it done. It's what we do.
|
|||||
9034
|
dbpedia
|
1
| 2
|
https://ghostly.com/artists/telefon-tel-aviv
|
en
|
Ghostly International
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
The late 1990s was a fertile time in the American electronic underground. A growing body of artists, spread around the nation, were engaging in the latest round of a decades-long transatlantic musical conversation. At the convergence of…
|
en
|
https://ghostly.com/artists/telefon-tel-aviv
| |||||||
9034
|
dbpedia
|
2
| 9
|
https://tastedive.com/music/like/Telefon-Tel-Aviv
|
en
|
Music like Telefon Tel Aviv
|
[
"https://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Telefon_Tel_Aviv_%28Seattle_2006%29.jpg/200px-Telefon_Tel_Aviv_%28Seattle_2006%29.jpg",
"https://tastedive.com/assets/icons/info-icon.svg",
"https://lh3.googleusercontent.com/a/ACg8ocKBYLxJL1R1P4_PXOharjKO9LSjiAro7zSplFuHxwOVBQ=s96-c",
"https://lh3.googleusercontent.com/a/ACg8ocLRW_K-Wkq-IiJG7Rraf0QTr89-NAf2MIlnzEApt3gd=s96-c",
"https://img.tastedive.com/a/446885-1673950193-9711be9.jpg",
"https://img.tastedive.com/a/432317-1645115627-f607425.jpg",
"https://s3.amazonaws.com/img.tastedive.com/avatars/428367-1683650004261.jpeg",
"https://img.tastedive.com/a/421606-1628986430-8221ea6.jpg",
"https://lh3.googleusercontent.com/a-/AOh14Gjp-ke0AvUwVoH94xPVOqXFAPXKt03lNEc_IzrY-XE=s96-c",
"https://lh3.googleusercontent.com/a-/AOh14GiaFKF86BVx0VtX3fUXt4KP-PRyWs7kexf51cZHgg=s96-c",
"https://img.tastedive.com/a/389974-1650093801-3ae9899.jpg",
"https://tastedive.com/assets/icons/info-icon.svg",
"https://img.tastedive.com/a/344124-1566614638-653b9ec.jpg",
"https://graph.facebook.com/10155083346990676/picture?type=large",
"https://img.tastedive.com/a/235501-1470651195-62a0a8c.jpg",
"https://lh4.googleusercontent.com/-cGl-oT6iOsU/AAAAAAAAAAI/AAAAAAAAAJk/wNEAzM-Zrso/photo.jpg?sz=200",
"https://lh3.googleusercontent.com/a-/AAuE7mDORy_Z_2IuCs2-jCmG2cdoZPh_r3dkncmauecEjA",
"https://img.tastedive.com/a/52783-1423914665-1244996.gif",
"https://img.tastedive.com/a/21880-1423914474-40c2265.gif",
"https://img.tastedive.com/a/8027-1423914376-0dc7421.gif",
"https://img.tastedive.com/a/6328-1423914360-0d9961c.gif",
"https://img.tastedive.com/a/845-1423914316-49c9172.gif",
"https://tastedive.com/assets/icons/facebook.svg",
"https://tastedive.com/assets/icons/twitter.svg",
"https://tastedive.com/assets/icons/instagram.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Similar music like Telefon Tel Aviv include Apparat, Nitrada, Milosh…
|
/assets/favicon.png
|
TasteDive
|
https://tastedive.com/category/music/like/Telefon-Tel-Aviv
|
Telefon Tel Aviv is a New Orleans–derived, Chicago-based American electronic music act, formerly comprising Charles Cooper and Joshua Eustis. Since Cooper's accidental death in 2009, Telefon Tel Aviv has continued with Eustis as the sole official member. Eustis was also a touring member of Puscifer and Nine Inch Nails for a time.
Telefon Tel Aviv was formed in 1999 by Charles Cooper and Joshua Eustis, with their first album Fahrenheit Fair Enough, released in the fall of 2001 to positive reviews. In 2002, the group released an EP on the Hefty Records Immediate Action label. In 2004, the duo released their second full-length album, Map of What Is Effortless, and a compilation album of remixes titled Remixes Compiled in 2007. The group released its third full-length album in January 2009 on the BPitch Control label. Influenced by English electronic band Orchestral Manoeuvres in the Dark (OMD), Immolate Yourself peaked at #17 on the Billboard Top Electronic Albums chart. In 2016, their debut was re-released with eight bonus tracks.
|
|||||
9034
|
dbpedia
|
2
| 8
|
https://www.ableton.com/en/blog/telefon-tel-aviv-shifting-time/
|
en
|
Telefon Tel Aviv: Shifting Time
|
[
"https://cdn-resources.ableton.com/resources/filer_thumbnails/78/ea/78eae9ba-bf55-4aad-8f14-5d02f5c04983/bl_telefontelaviv_1.jpg__800x400_q85_subsampling-2.jpg",
"https://cdn-resources.ableton.com/80bA26cPQ1hEJDFjpUKntxfqdmG3ZykO/static/images/ableton-wordmark.c025e3df71b3.svg",
"https://cdn-resources.ableton.com/80bA26cPQ1hEJDFjpUKntxfqdmG3ZykO/static/images/ableton-hallmark.ef5355379032.svg"
] |
[
"https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/611421537&color=666666&show_artwork=false&show_comments=false",
"https://www.youtube-nocookie.com/embed/uQE-t6K1jWY?wmode=transparent&vq=hd1080&rel=0&showinfo=0&autohide=1&color=white&modestbranding=1",
"//bandcamp.com/EmbeddedPlayer/track=3391671857/transparent=true/size=small/bgcol=ffffff/linkcol=0687f5/",
"https://www.youtube-nocookie.com/embed/z5Jv7hzUdTs?wmode=transparent&vq=hd1080&rel=0&showinfo=0&autohide=1&color=white&modestbranding=1",
"//bandcamp.com/EmbeddedPlayer/track=1400201574/transparent=true/size=small/bgcol=ffffff/linkcol=0687f5/"
] |
[] |
[
""
] | null |
[] | null |
Ableton interview with Josh Eustis about the making of Telefon Tel Aviv’s first album in ten years.Includes free download of a custom made Max for Live device.
|
en
| null |
When the last Telefon Tel Aviv record came out, the band already had a tangled legacy behind them. Originally hailing from New Orleans, the duo of Josh Eustis and Charles Cooper quickly drew an avid following with their 2001 debut album, Fahrenheit Fair Enough. Their initial combination of micro-sampling techniques, folky songwriting and expressive sound design remains a unique proposition that mutated over time. Subsequent albums Map Of What Is Effortless and Immolate Yourself each represented a departure from its predecessors, simultaneously confusing existing fans while acquiring new ones. When Cooper tragically passed away in 2009, Telefon Tel Aviv went on indefinite hiatus, leaving behind a small but prominent body of work for listeners to reflect upon. A band that steadfastly refused to adhere to genre conventions or kowtow to expectations, their cult status has only deepened over time.
Having earned a reputation for the high production values of the TTA material, Eustis forged a productive career in music that found him working as a sound designer, producer and mastering engineer for a variety of projects. He notched up repeated stints in alternative rock megaliths such as Nine Inch Nails, A Perfect Circle and Puscifer as well as production credits for Tropic Of Cancer and Vatican Shadow, and much more besides. He also formed Second Woman with Turk Dietrich – an acclaimed project that mutates bruising club aesthetics through intense signal processing and sound design.
Understandably, returning to Telefon Tel Aviv was a conflicted decision for Eustis, but as his work with Dietrich brought him back into a similar sphere of music production, ideas for the project began to present themselves. While his decades of experience in music production had provided him with more than enough tools to solve most conventional production problems, Eustis struck upon a particular concept about time manipulation that couldn’t be solved by conventional means. In 2016 he started trying to realise that idea by immersing himself in the world of Max MSP, all the while developing musical themes that would eventually manifest in the fourth Telefon Tel Aviv album, Dreams Are Not Enough.
A brooding, stormy record at once reminiscent of TTA and equally not like any previous album, Dreams Are Not Enough arrives on Ghostly International as the wholly appropriate follow up to one of the most singular projects in the history of US electronica. We caught up with Eustis to find out more about the process behind the long awaited return.
How do you feel that Dreams Are Not Enough relates sonically to the rest of the Telefon Tel Aviv legacy?
The quick answer is that I think it totally picks up where the last record left off. But the records are all so different from one another, a lot of people think of it like three different bands across three different records, so my thinking this time was to try to incorporate elements of all the records into one record. A little bit of Map [Of What Is Effortless], a little bit of Fahrenheit [Fair Enough] a little bit of Immolate [Yourself] and then whatever else it's gonna be. We always got bored of whatever we were doing and took a hard turn each time we made a new record, so maybe this one is like the others in that it is a bit of a departure again.
Did you strike upon an angle of approach you thought would be the right thing to do for Telefon Tel Aviv?
After five years trying to figure if I was even gonna do the damn thing in the first place, I had to figure out what the sound was gonna be. Once I got my brain around that it was like, ‘Oh, I'm not gonna be able to do this with my current skill set.’ I realised I had to dig in on Max, so I started learning Max online around 2016 and then spent two years while tinkering with little melodies and lyrics and saving them. While doing all that, I spent two and a half years building the tool kit I needed to make the record.
“A Younger Version of Myself” from the new Telefon Tel Aviv album “Dreams Are Not Enough”
Could you tell me more about the technical vision you had for the record?
I needed to figure out a way to mess with the timing of things. And this ties into the Second Woman stuff I've been working on with Turk, where we started trying to think about things being fluid and loose, not on the grid. It goes all the way back to the very beginning of Telefon Tel Aviv. There are a lot of points on Fahrenheit Fair Enough where a rhythm is programmed according to the Fibonacci sequence, or things break apart according to the Mandelbrot Set. We used actual math to program a lot of that stuff manually, to get these curved rhythms. I've always been obsessed with curved rhythms, but while we did a lot with sound design and complex programming, I didn't really dig in a lot on this curved rhythm idea. I wanted to explore it more deeply in the context of melodic material, but also to try to make something that was just fun to listen to and didn't really sound like anything else.
Complex, interlocking patterns – a hallmark of Telefon Tel Aviv’s sound since their debut album “Fahrenheit Fair Enough”
Having come up with the idea and technical approach, what did you set about trying to do going into Max?
It was actually the most fun I've had making music since the very beginning of trying to make electronic music. It was an incredible, liberating, mind blowing experience. It's the same feeling I had the very first time Charlie and I started working on music together in the Pro Tools window, when we really didn't know anything at all. It was this incredible feeling of the world being your oyster and not knowing how to do anything and just tinkering until things sound cool or interesting or new. I've made so many records in the interim time for myself and for other artists, I got to a point where I had a cockiness about the process of making records and I thought I knew everything. Getting into Max took me out of the kiddie pool and threw me in the deep end with no floaty.
What is the toolkit you built in Max?
It’s basically a big standalone app I built in Max, which I then parted out into individual pieces for Max for Live, for working within Ableton Live. I knew that [Live] was gonna be the canvas for this thing because of its implementation with Max. It was either learn Max and deal with the idea of Max For Live controlling timing in Ableton, or learn Javascript and try to do it in Logic, and that seemed much harder. Ableton just feels like home right now.
Josh Eustis breaks down his studio set-up
Can you explain the system you built in Max?
It all has to do with changing the way time is divided. The main system is called Guilt. What Guilt does is, you can set a time period of, let's say two bars, and then instead of dividing those two bars into two bars of 32nd notes, you have 32 steps that can be any length. Each step can be its own length, and you can draw in step lengths using a multi-slider or a graph, and it'll loop around those two bars perfectly, but the distance between steps is not measured in note length, it's measured in a pure time value. So each step can have its own time value, and so you're constantly getting these different time divisions. You can use this to trigger other things. If you put a synth after the Guilt system and play chords or melodies, it will play the notes that you're holding down almost like an arpeggiator, but play them at the times that you determine on the multi-slider.
Now that can also trigger other things. There's a Tragedy system [originally built by Alessio from K-Devices] which is similar, but it's basically a polyphonic MIDI note repeater which has LFOs built into it for velocities, and that can fire together with Guilt if you want to do it a different way. It can store patterns, it can morph or interpolate between patterns, which is a really cool feature. Then there's Pity, which is a gate that also keys off its own timing system, or it can key off the main Guilt timing system. Every time it receives a bang from one of the other devices it will start an amplitude envelope on whatever's coming through it, so you can break something up pretty interestingly that way. There are Polyphonic MIDI note delays that also have curvable delay times, there’s a mono delay... Most of it deals with manipulating MIDI, and how MIDI timing is computed, and it's all really pretty simple.
Josh Esutis has kindly shared one of his own Max for Live creations, a simple tool for designing kick drums and generating low-end frequencies, used in the making of the latest album. The device requires Live 10 and Max for Live.
How long did it take you to strike upon this process?
It took years. I knew exactly what I wanted to do, but I had no clue how to do it, and so I just had to iterate on the idea until it worked. I took the Kadenze course online, which really blew the doors open for me. Tom Hall from Cycling ‘74 helped me a lot with a couple of things.
How much more developed is the system now compared to your original idea?
Way, way beyond anything I thought I would ever be able to do. Without sounding like I got too proud of myself, I was really stoked that I somehow managed to do it and it was way beyond what I thought it was gonna be.
"We always got bored of whatever we were doing and took a hard turn each time we made a new record, so maybe this one is like the others in that it is a bit of a departure again."
Did you ever feel at risk of losing focus on the creative aspect and just obsessing on the technical side of the system?
It's a pitfall for anybody doing something on the technical side of music, but I just put limits on myself. I let myself program Max during the day, but if I was gonna work in the evening it had to be just tinkering with melodies or a beat, it had to be something creative and not technical. It's just about compartmentalising those things and making sure you don't just make busy work for yourself. I started to notice this about myself as I was working on this record. I was working 60, 70 hours a week, and I was justifying it to myself saying, ‘I'm not gonna be able to make the record until I have this tool kit done.’ At the worst part of it, it felt like I was allowing myself to do all this extremely tedious technical work so I wouldn't feel guilty about not writing the record, but then the tool kit really started coming together and Ghostly [International] were like, ‘Hey dude, are you gonna do this record?’ I already knew what all the song titles were gonna be, I had all the themes worked out, most of the melodic stuff was written. I just had to sit down and produce it.
Did you need that kick from Ghostly?
Yeah, I could have probably just worked on this Max MSP stuff for the rest of my life without ever really writing a record. I had to put limits on myself. I listened to promptings from the label, and it was good for me.
What was it like when you began the actual production process, and how did it flow?
Technically I started writing the album in 2016-ish, and I had three songs done before I even really sat down to do the record.
So to make the remaining six tracks, were you firing up the system and feeding pre-prepared ingredients into it?
Yeah. I sort of knew what they were all going to be ahead of time. I have this thing where I don't really sit down and tinker with song stuff. When it comes to melodic stuff or basic song structures, I have a real good idea of where I'm going a lot of the time.
Electronic music creation can lend itself to a non-linear, un-composed approach, but were you still coming at it from a song-writing perspective?
Yeah. It was definitely on my mind. I knew I was gonna have to worry about words and themes and setting a picture – I knew what the songs were going to be about but I didn't know exactly how I was going to say it. I also wasn't sure it wasn't going to be rooted in dance music anyway, because I love that. But it ended up being more... I don't want to say it's a folk record, but it ended up being more like that than it ended up a dance record.
Second Woman – Josh Eustis’ collaboration with Turk Dietrich of Belong takes more direct aim at the dance floor
Beyond the central production ideas about time shifting on Dreams Are Not Enough, it also seemed like there was an emphasis on spatial processing and breathing room in the mixes.
Absolutely. It was an attempt to think about the space between notes. I didn't want this record to be too full, or 70 tracks in a session like the old Telefon stuff. I wanted to exercise a little bit of self-censorship and leave space. I just started to like the way space sounded in music and it became a very rewarding feeling.
You’ve been playing live sets as Telefon Tel Aviv for a few years again, and there are dates scheduled around the release of the new album. Can you explain how your live set is laid out?
It's laid out as scenes in session view, and there are instruments that are just tone generators that are open, and MIDI clips and vocal chains and stuff like that. There's a track for video, there's a track for triggering lights, there's a bunch of auxiliary stuff, but then basically what happens is using Max I've built a graphical overlay that goes on top of everything, so I'm not even looking at Ableton [Live] when I'm playing. With this graphical user interface I can send timing data to MIDI that's already playing, change it or manipulate it in ways that I think are interesting. And that also deals with doing stuff like that to the vocals. It's pretty simple, but also totally open-ended. I can play the song exactly as it is off the record if I wanted, or I can take it somewhere and make a complete mess out of it, and that to me is kind of the fun part of it.
Did you design the live set with a view to being able to improvise more on stage?
I would say live performance in electronic music culture values things like improvisation very much. In the context of songs, improvisation for me doesn't work very well. I get married to the way things should be and I have a hard time wrapping my brain around how to improvise, so what I'm constantly trying to do is find ways to improvise on it. If I've only got a set amount of time for this musical idea to happen, how far can I take it within that time?
Keep up with Telefon Tel Aviv on Soundcloud
Text and interview by Oli Warwick
|
||||||
9034
|
dbpedia
|
1
| 3
|
https://www.facebook.com/telefontelavivofficial/
|
en
|
Facebook
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
[
"https://facebook.com/security/hsts-pixel.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico
|
https://www.facebook.com/login/
| ||||
9034
|
dbpedia
|
0
| 76
|
https://www.hainanairlines.com/US/US/CTUS
|
en
|
Contact Us
|
[
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/logo-hu.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/hu_logicon_mob.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/hu_logo_mob.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/hu-logo-ipad.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21//portal/img/hu-logo-pc.png",
"https://www.hainanairlines.com/go/styleguide/img/book-flights.png",
"https://www.hainanairlines.com/go/styleguide/img/flight-information.png",
"https://www.hainanairlines.com/go/styleguide/img/manage-my-booking.png",
"https://www.hainanairlines.com/go/styleguide/img/deals.png",
"https://www.hainanairlines.com/go/styleguide/img/flying-plus-mall.png",
"https://www.hainanairlines.com/go/styleguide/img/travel-information.png",
"https://www.hainanairlines.com/go/styleguide/img/transfer-information.png",
"https://www.hainanairlines.com/go/styleguide/img/bagage.png",
"https://www.hainanairlines.com/go/styleguide/img/care-more.png",
"https://www.hainanairlines.com/go/styleguide/img/at-the-airport.png",
"https://www.hainanairlines.com/go/styleguide/img/on-board-experience.png",
"https://www.hainanairlines.com/go/styleguide/img/fleet.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/logo-mobile-new.png",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21/portal/img/logo-mobile-new.png",
"https://www.hainanairlines.com/go/image/CTUS/banner.jpg",
"https://www.hainanairlines.com/go/image/CTUS/contact-04.jpg",
"https://www.hainanairlines.com/go/image/CTUS/contact-02.jpg",
"https://www.hainanairlines.com/go/image/CTUS/contact-03.jpg",
"https://www.hainanairlines.com/go/image/CTUS/contact-01.jpg",
"https://www.hainanairlines.com/HUPortal/2024.02.02.21//portal/img/logo-footer.png",
"https://www.hainanairlines.com/go/2024.8-8/image/FOOT/footer_awards/img/award1.png",
"https://www.hainanairlines.com/go/2024.8-8/image/FOOT/footer_awards/img/award3.png"
] |
[] |
[] |
[
"telephone call address"
] | null |
[] | null |
it contains telephone, number call and address
|
en
|
/HUPortal/2024.02.02.21/portal/img/favicon.ico
| null | ||||||
9034
|
dbpedia
|
2
| 80
|
https://www.simtoisrael.com/emergency-numbers-in-israel-tourist-guide/
|
en
|
EMERGENCY NUMBERS IN ISRAEL – TOURIST GUIDE 2024
|
[
"https://www.facebook.com/tr?id=581159053413604&ev=PageView&noscript=1",
"https://www.facebook.com/tr?id=817822422835848&ev=PageView&noscript=1",
"https://www.simtoisrael.com/wp-content/uploads/simtoisrael-circle-logo.png",
"https://www.simtoisrael.com/wp-content/uploads/simtoisrael-circle-logo.png",
"https://www.simtoisrael.com/wp-content/uploads/2019/12/tripadvisor-logo.png",
"https://www.simtoisrael.com/wp-content/uploads/emergency.jpg",
"https://www.simtoisrael.com/wp-content/uploads/911-1400x187.png",
"https://www.simtoisrael.com/wp-content/uploads/112-1400x187.png",
"https://www.simtoisrael.com/wp-content/uploads/emer.jpg",
"https://www.simtoisrael.com/wp-content/uploads/police.png",
"https://www.simtoisrael.com/wp-content/uploads/ambulance.png",
"https://www.simtoisrael.com/wp-content/uploads/ambulance.jpg",
"https://www.simtoisrael.com/wp-content/uploads/emergency.jpg",
"https://www.simtoisrael.com/wp-content/uploads/fire.png",
"https://www.simtoisrael.com/wp-content/uploads/electric.png",
"https://www.simtoisrael.com/wp-content/uploads/banks.png",
"https://www.simtoisrael.com/wp-content/uploads/image11.jpg",
"https://lh6.googleusercontent.com/roTteGNh9J8mzH-y1HruplUKV1NRxFU6OEw8YdvAS31buO9d5J3220O6Oo-uCM6ek-vdROE9u6ccVoCSfI4DN24PEVcSqzBUReME2h_j-UxiFLwzUythmk64_jh2coIh4n-V2qep",
"https://www.simtoisrael.com/wp-content/uploads/mobile-image.jpg",
"https://www.simtoisrael.com/wp-content/uploads/sim-banner_blog-2.jpg",
"https://www.simtoisrael.com/wp-content/uploads/2019/12/tripadvisor-logo.png",
"https://www.facebook.com/tr?id=817822422835848&ev=PageView&noscript=1&cd%5Bpost_category%5D=Uncategorized&cd%5Bpage_title%5D=EMERGENCY+NUMBERS+IN+ISRAEL+-+TOURIST+GUIDE+2024&cd%5Bpost_type%5D=post&cd%5Bpost_id%5D=115500&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=www.simtoisrael.com%2Femergency-numbers-in-israel-tourist-guide%2F"
] |
[] |
[] |
[
""
] | null |
[
"Artavazd Barseghyan"
] |
2024-01-25T09:02:00+00:00
|
Emergency numbers in Israel for tourists ☎ 911 ✔ FIRST AID ✔ HOSPITALS ✔ Fire ✔ Israeli Police | ☎ Dialing Codes ✔ City Phones ✔ Embassies
|
en
|
SimToIsrael
|
https://www.simtoisrael.com/emergency-numbers-in-israel-tourist-guide/
|
ISRAELI POLICE | AMBULANCE | FIREFIGHTERS | HOW TO CALL 911 IN ISRAEL | LOW-COST MEDICAL CLINIC | EMERGENCY MEDICAL SERVICES IN JERUSALEM | HOSPITALS | MUNICIPALITY AND CITY INFORMATION | DIALING CODES | CITY PHONES | BUS SCHEDULES & FARES | TRAIN SCHEDULES & FARES | DOMESTIC AND INTERNATIONAL FLIGHTS INFORMATION | FOREIGN EMBASSIES IN ISRAEL | CONSULATES
How safe is traveling to Israel?
Travel in Israel is safe despite what media is constantly covering in southern Israel and Gaza. The situation in the south of the country is not affecting tourists moving around in the country as conflict areas aren’t areas where most people live. They certainly aren’t the areas that travelers visit. The main tourist areas – Tel Aviv, Jerusalem, Haifa, the Negev, Dead Sea and Galilee, remain as safe as always.
Crime rates are low. Tourists don’t have to worry about street crime.
Never the less you can never be too careful when visiting a foreign country. Stay vigilant at all times and save your emergency numbers for your peace of mind.
How to call 911 in Israel?
911 is the emergency number in United States as well as in a number of other countries. You can dial 911 while in Israel. You will automatically be redirect to a local number.
Calls to 911 are free of charge.
Some situations when you’d want to call 911:
Crimes in progress
Life-threatening situations
Fires
Traffic accidents
Hazardous chemical spills
Fire/smoke detector or carbon monoxide alarms that are sounding
Explosive devices
Elevator rescues
Fuel spills
Smoke in the building
Aircraft emergencies
Cliff rescues
Beach or water-related emergency
911 calls are usually answered within 60 seconds.
What will happen if I call 112 in Israel?
112 is the European emergency number. This number is dialed free of charge from fixed and mobile phones everywhere in the EU. It will get you straight through to the emergency services – police, ambulance, fire brigade. EU tourists may intuitively dial 112 in an emergency.
On GSM phones, the number 112 is guaranteed to connect to emergency services, no matter what country you’re in. As with 911 in many countries 112 is programed to forward the caller to a local emergency number.
So if you are a traveler from Europe who dialed 112 or 911 don’t worry both calls will be forwarded to a local emergency and your phone will display “Emergency Call” on screen.
Local Emergency Numbers in Israel
Dedicated Emergency Number for Tourists in Israel
Police
100
110 (non-emergency)
info@gov.il
https://www.gov.il/en/departments
https://www.facebook.com/israelpolice
https://www.youtube.com/channel/UCqGqEABdf5Q0wlxEnc6RH5w
Ambulance
101
info@mda.org.il
https://www.mdais.org/en/
https://www.facebook.com/mdaonline
https://www.youtube.com/mdaisrael
In an emergency you can call the ambulance 101 to request an ambulance or to find out about the nearest casualty department.
Terem is an urgent care center that offers a range of services under one roof, including x-rays and laboratory tests on site. Many of the doctors and staff speak English.
Terem Talpiot
Phone: 1-599-520-520
Address: 6 Yanovsky St, Talpio
Low-Cost Medical & Dental Clinic in the Old City Open to Tourists
Phone: +972-2-627-1958
Address: Greek Orthodox Patriarchate Road, Christian Quarter, Old City
Opening hours: Mon – Thurs: 9:00am – 2:00pm; Fri: 09:00am – 2:00pm (general doctor only); Sat: 9:00am – 1:00pm; Sun: closed
Emergency Medical Services in Jerusalem
FIRST AID
Terem City Entrance
Phone: +972-2-509-3333
Address: 80 Yirmeyahu St, Romema
Terem Katamon
Phone: +972-2-561-2139
Address: 4 Gedud Haivri St, Katamon
Terem Bikur Holim Hospital
Phone: 1-599-520-520 extension 2
Address: 74 Hanvi’im Street
HOSPITALS
Hadassah Hospital Ein Kerem
Phone: +972-2-677-7111
Hadassah Hospital Mount Scopus
Phone: +972-2-584-4111
Sharei Zedek Hospital
Phone: +972-2-666-6666
Bikkur Cholim Hospital
Phone: +972-2-646-4444
Fire Service
102
https://www.gov.il/en/departments/firefighting_and_rescue_israel/govil-landing-page
https://www.facebook.com/IsraelFireServices
https://www.youtube.com/user/IsraelFireServices
Electric Company
103
103@iec.co.il
http://www.iec.co.il/
https://www.facebook.com/israelelectric
https://www.youtube.com/user/israelelectric
*Open 8:00 am – 7 p.m.
Municipality and City information
106
*Dialing number in general is 106 but for some cities it varies between 106-109. Complete list of hotline numbers in Israel can be found in this list.
Phone repair 166
Phone service 199
Time 1455
Wake-up call 1475
Other Useful Information?
Dialing Codes
City Phones
For example the cost of a call to Russia from a telephone box varies from 0.80 usd to 1.20 usd depending on the time of day. Calls from 20:00 to 08:00 are cheaper.
Small shops also have pay phones that work with coins. Per minute rate.
It is also worthwhile to first familiarize yourself with the rates of local telephone operators and choose the most favorable one, since the rates can vary greatly.
A call from a hotel is much more expensive than from a public pay phone.
Other Services
Again from outside Jerusalem, you must dial the city prefix (02) before any 7-digit phone number.
From outside Israel, you dial only the (2) – without the zero – between the country code and the phone number.
Inside the city you do not need to dial the (02) prefix unless you are calling from a cellular phone.
Reverse search name for phone number in Israel
https://441il.com/reverse_lookup/phone_number/israel.html
Public Transportation in Israel
For schedules and fares of buses in Israel, please visit:
http://www.egged.co.il/eng/
For train schedules and fares, please visit:
http://www.rail.co.il/EN/Pages/Homepage.aspx
For information about all domestic and international flights, please visit:
http://www.iaa.gov.il/Rashat/en-US/Rashot
Foreign Embassies in Israel
Foreign Embassies in Israel
How can you call 911 without service?
If you have no network signal, call 911 for help. This emergency call will transmit to the closest network tower to you, giving rescuers an idea of where you are located. No signal is emitted from your phone. But if your phone is turned off or dead then no signal is emitted from your phone.
How to set up emergency phone numbers on your cell
In case of emergency you sure would like to let specifics of your medical history known and notify your trusted contacts about the situation you found yourself in. Luckily, smartphones allow you to create a medical ID or In Case of Emergency (ICE) contact with your health information and emergency contact of choice.
The iPhone has a Medical ID option that will inform others of your medical history and emergency contact information.
Go to the health app on your phone
Select Medical ID
Edit so that it provides any medical and emergency contact information
Select the option to show when your screen is locked
Androids also have a built-in emergency contact information option.
Go to your settings and search “Emergency information”
Select the option to edit and enter your emergency contact information
Set up ICE info on any smartphone
Another way to make your In Case of Emergency number accessible is by making it your lock screen background.
Go to the notes section of your phone
Write down your emergency numbers
Screenshot the note and save it as your screensaver
Lastly, if you don’t have a smartphone that has these capabilities, be sure you are labeling contacts correctly. Create a contact named “ICE” and put in your emergency contact’s info. It’s also helpful to label your emergency contacts with their relation to you. For example, use the contact name, “my husband” or “my wife.” This way, if you are in an emergency situation and someone finds your phone, they will know who they are calling.
|
|||||
9034
|
dbpedia
|
0
| 37
|
https://business.bofa.com/content/boaml/en_us/locations.html
|
en
|
Bank of America Locations, Addresses & Phone Numbers
|
[
"https://business.bofa.com/etc.clientlibs/flagship/clientlibs/clientlib-site/resources/images/BofA_logo.svg",
"https://business.bofa.com/content/dam/flagship/Article/bank-of-america-institute/bank-of-america-institute2/WEB-10-22-0067_tile_640x360.jpg",
"https://business.bofa.com/content/dam/flagship/kr/en/about-us/Masthead-Tile.jpg",
"https://business.bofa.com/content/dam/flagship/global-solutions-and-insights/TIle_Desktop_640x360_InternationalLP1.jpg",
"https://business.bofa.com/content/dam/flagship/Article/bank-of-america-institute/bank-of-america-institute2/WEB-10-22-0067_tile_640x360.jpg",
"https://business.bofa.com/content/dam/boamlimages/flagship/BofA_rgb_desktop.png",
"https://business.bofa.com/content/dam/flagship/linkedin-footer-white.svg",
"https://business.bofa.com/content/dam/flagship/twitter-footer-white.svg",
"https://business.bofa.com/content/dam/flagship/youtube-footer-white.svg"
] |
[] |
[] |
[
"bank of america merrill lynch address",
"bank of america merrill lynch phone number",
"bank of america merrill lynch locations",
"bank of america address",
"bank of america phone number",
"bank of america locations",
"wfid23816381"
] | null |
[] | null |
Find specific contact information, such as addresses and phone numbers, for worldwide Bank of America office locations.
|
en
|
/etc.clientlibs/flagship/clientlibs/clientlib-site/resources/images/favicon.ico
|
Bank of America
|
https://business.bofa.com/content/boaml/en_us/locations.html
| |||||
9034
|
dbpedia
|
3
| 35
|
https://music.apple.com/us/artist/telefon-tel-aviv/4210796
|
en
|
âTelefon Tel Aviv
|
[
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif",
"https://music.apple.com/assets/artwork/1x1.gif"
] |
[] |
[] |
[
"listen",
"Telefon Tel Aviv",
"music",
"songs",
"Electronic",
"apple music"
] | null |
[] | null |
Listen to music by Telefon Tel Aviv on Apple Music. Find top songs and albums by Telefon Tel Aviv including Fahrenheit Fair Enough, The Birds and more.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/us/artist/telefon-tel-aviv/4210796
| |||||
9034
|
dbpedia
|
2
| 4
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
en
|
Ten Years After the Death of Its Co-Founding Member, Telefon Tel Aviv Returns With a Haunting New Album
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.billboard.com/wp-content/uploads/media/Telefon-Tel-Aviv-pr-2019-billboard-1548.jpg?w=942&h=623&crop=1",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://www.billboard.com/wp-content/themes/vip/pmc-billboard-2021/assets/public/lazyload-fallback.gif",
"https://cdn.shopify.com/s/files/1/0237/2843/products/2020_04_540x.jpg?v=1581608516",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Joshua Glazer"
] |
2019-09-27T14:10:05+00:00
|
The 'unintentional solo act' returns with 'Dreams Are Not Enough,' out today via Ghostly International.
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/telefon-tel-aviv-dreams-are-not-enough-interview-8531418/
|
The announcement came like everything else these days, on Twitter.
Amidst the endless stream of celebrity hot takes, memes and existential dread, Josh Eustis typed, “I’m beyond relieved to be able to share this news, finally.” The news in question was for Dreams Are Not Enough, the first Telefon Tel Aviv album in a decade and the first since the death of Charlie Cooper, who co-founded TTA with Eustis in 1999.
Back then, TTA was a duo comprised of Eustis and Charlie Cooper, formed in New Orleans in 1999 before moving north to Chicago to be in the midst of the city’s fecund independent music community. In 2001, they released Fahrenheit Fair Enough on Hefty Records, a label run by John Hughes III, descendant of the ‘80s teen movie legend. The music, a melancholic blend of glitchy forward-moving rhythms and satisfying synth and guitar melodies, announced TTA as part of the broader musical conversation happening between local bands like Tortoise on post rock institution Thrill Jockey Records and a like-minded U.K. scene anchored by Warp Records and newer artists including Four Tet and M83.
Thus began a steady ascent that saw two more critically acclaimed and audience adored albums, 2004’s A Map of What Is Effortless and 2009’s Immolate Yourself. The latter album signified a shift in sound from the delicate laptop electronica of the first two records to a more emotive song-driven style buoyed by large washes of shimmering polyphonic synths. It was released on German techno powerhouse BPitch Control and promised a new level of popularity for Eustis and Cooper. But the promise was short-lived. A mere two days after Immolate’s release, Cooper died of an accidental overdose of sleeping pills and alcohol.
Trending on Billboard
Ten years later, Eustis is still coming to terms with Cooper’s death, but issuing the first Telefon Tel Aviv album since the tragedy, Dreams Are Not Enough, marks a watershed moment for the unintentional solo act returning to the project that most had assumed was permanently defunct. First, there’s the theme of the album, out today (Sept. 27) via Ghostly International, based on a dream that haunted Eustis in childhood and reappeared in his psyche following Cooper’s passing.
“I’ve known the song titles for almost a decade now. Since a year or two after Charlie died,” Eustis reveals before attempting to explain the source of a cycle of song named “i dream of it often;,” “a younger version of myself,” “standing at the bottom of the ocean;” “arms aloft,” “mouth agape,” “eyes glaring,” “not seeing,” not breathing,” and finally, “still as stone in a watery fane.” Listed top to bottom on the front of the record sleeve, these titles form a harrowing poem for listeners to digest before they even press play. Once they do, the music is as doleful and unnerving as the stanzas suggest.
Unpacking the poetic lifeblood of Dreams requires some explanation. To start, there’s an actual incident. A childhood vacation on the Gulf Coast when 8-year-old Eustis swam too far from shore — in pursuit of a pod of dolphins, as he recalls — and came to the shelf where the floor of the ocean suddenly drops off.
“I just saw blackness as far as the eye can see, all the way down. You’re looking into the void,” he recounts. “I freaked out and swam back to shore and wouldn’t get back in the water.”
That terrifying event led to the recurring nightmare where Eustis would see himself submerged under the waves, “It’s me again, the little red bathing suit, little boy Joshie looking down over the shelf, and I can see that version of myself standing on the bottom of the ocean.” One hardly needs a degree in psychology to understand how the loss of his friend might have stirred up other traumas from Eustis’ past.
Fortunately, when the dream revisited the now-adult musician, he jotted down his impressions after awakening from the nightmare. “So many of my ideas come from being in this liminal state between sleep and wakefulness,” Eustis explains. “My dream journal is essential for me to function as an artist.”
Yet inspiration is only one ingredient for making a record like Dreams. Others include technical innovation, which Eustis pursued for more than two years by learning Max MSP, a software system that allows for the creation of entirely new musical tools deployed on Dreams.
Then there is time and money, both of which come in short supply for an independent artist making his way in the current music business climate. In the years following Cooper’s death, Eustis moved to Los Angeles and established himself as an able sideman, doing time on tour with industrial rock legends Nine Inch Nails and appearing on records by Tool frontman Maynard James Keenan’s A Perfect Circle and Puscifer projects.
More recently, Eustis has leveled up his studio hustle, at various times mixing, mastering and engineering music for goth-loving techno producers Vatican Shadow and Silent Servant, as well as industrial sensations Drab Majesty and Orphx. There has also been multiple albums as Sons of Magdalene (a solo endeavor), Second Woman (a collaboration with Turk Dietrich) and The Black Queen (a trio including former Dillenger Escape Plan frontman Greg Puciato and NIN technician Steven Alexander Ryan). Through it all, new Telefon Tel Aviv was still in the back of Eustis’ mind.
“I had been iterating on Telefon stuff the whole time, even though I thought I wasn’t ever going to do it again,” Eustis says. “I’d get three or four things kind of finished and later think ‘This is all terrible!’ and just scrap it and start over.”
A dozen shows opening for Moderat in 2016 reactivated TTA as a touring concern, slowly acclimating Eustis to the idea of a new record. But it was an intervention by Sam Valenti, the owner of the Ghostly International label that is putting out Dreams as part of its 20th Anniversary year, that forced his hand. “Sam was like, ‘We’ve been talking about this for five years. Are you going to do this? Are you not going to do this? Do you need an advance to block out time so that you can not worry about other people’s music and just work on your own?’”
Ghostly bought Eustis the month or so he needed this spring to finish the album. He’s happy to report that it came together both quickly and painlessly once all of the obstacles were removed, but can’t help but reveal that a severe depression followed its completion. “With Charlie, we were usually both despondent while working on a record,” he chuckles. “So this was different.”
Nevertheless, Eustis is excited to have Dreams out in the world and is preparing to tour behind the record. He speaks fondly of the small but dedicated fanbase he can count on to attend his shows and purchase Ghostly’s gorgeous, gold-splattered vinyl pressing. But mostly, Eustis is left to wonder what might have happened had Cooper lived. Where might their career have taken them in an alternate reality where the lives of promising young people aren’t cut short, leaving others to pick up the pieces?
“That’s the thing that sticks in my craw the most,” he admits before accepting the situation for what must be the thousandth time. “Then again, the music I’m making is weird and challenging and probably would never have found a much wider audience. And I’m fine with that.”
|
|||||
9034
|
dbpedia
|
0
| 17
|
https://homegrown.co.in/homegrown-explore/telefon-tel-aviv-are-bringing-their-revival-tour-to-india-next-month
|
en
|
Telefon Tel Aviv To Tour India For The First Time Ever Next Month
|
[
"https://images.assettype.com/homegrown/2022-06/0a4fac02-4313-40da-b925-a00bff37370d/white_copy.png",
"https://gumlet.assettype.com/homegrown/2021-06/6e7bfad2-6707-4cfb-93aa-4e1e9529f359/Black.png",
"https://gumlet.assettype.com/homegrown/2022-10/d7ffadf9-a80c-41bb-a811-df9c05ddbef6/Manifest_logo.jpg?w=50&fm=png"
] |
[] |
[] |
[
"Joshua Eustis",
"Telefon Tel Aviv",
"EDM",
"Mixtape",
"FWRD"
] | null |
[
"Shireen Jamooji"
] |
2021-06-08T12:24:33+00:00
|
For all those who went far enough down the rabbit hole of ‘EDM’ (the three letters encompass something far more specific and tooth-grinding today) to discover t
|
en
|
/favicon.ico
|
Homegrown
|
https://homegrown.co.in/homegrown-explore/telefon-tel-aviv-are-bringing-their-revival-tour-to-india-next-month
|
For all those who went far enough down the rabbit hole of ‘EDM’ (the three letters encompass something far more specific and tooth-grinding today) to discover the world of IDM circa the late ‘90s and early 2000s, there’s a hit of seriously welcome nostalgia coming your way sooner than you think. And that hit involves an artist (once, a duo) called Telefon Tel Aviv who almost certainly found itself sandwiched between the likes of a Zero 7 or a Thievery Corporation on your playlists during those years. Perhaps a thanks to the likes of independent films like Garden State and their soundtracks is due, considering they were one of the key mediums through which trip-hop and deeply instrumental, sometime jazz-inflected melodies like these became such an inevitable part of our electronic music journeys. Regardless of whether any of the above rings a bell for you, however, the news remains just as exciting. After eight long years, Telefon Tel Aviv is back with not only a new track, but they’re also going to be on tour in India next month!
The experimental electronic duo was originally conceptualized by Joshua Eustis who was later joined by his high school friend, Charles Cooper, in 1999 and their debut 2001 album ‘Fahrenheit Fair Enough’ blew listeners away with its intricate electro-rhythms and analog instrumentation. But post their follow-up ‘Immolate Yourself’–a more soulful reproach into similar sonic experimentation–in 2009 was met with wide acclaim, the tragic death of Cooper marked the end of an era and Telefon Tel Aviv drifted into seeming obscurity for what felt like too long. In this time, Joshua served as a touring member for Nine Inch Nails and collaborated heavily with Maynard James Keenan’s solo project, Puscifer, before releasing his own solo project in 2014. It wasn’t until last year that Joshua decided to revive Telefon Tel Aviv with a reissue of their debut album and began touring the world.
The catalysts behind the fresh programming and the upcoming India tour, Mixtape – founded by Naveen Deshpande in 2010 – have already cemented themselves as the support behind some of the biggest and best artists in the Indie music circle including Indus Creed, Skyharbor, OX7GEN and Bhayanak Maut. They’re also one of the few to have maintained a strong allegiance to live artists and bands despite the trajectory of the industry moving so heavily towards electronic producers and DJs. With their flagship property, FRWD, they’re expanding their reach even further and hope to showcase cutting edge live electronic acts from across the country, along with state-of-the-art sound, lights, stage and creative design–something we’ve come to expect from Mixtape properties. Since FRWD hit the scene in May 2016, people have been treated to performances by both Indian and International artists accompanied by world class AV production. And thanks to their tireless work, this September, you can catch the soaring melodic strains of Telefon Tel Aviv at three exclusive venues across the country to experience for yourself their painstaking precision and a deep love of music.
|
||||
9034
|
dbpedia
|
2
| 59
|
https://post-punk.com/erased-by-ai-in-telefon-tel-avivs-video-for-a-younger-version-of-myself/
|
en
|
Erased by AI in Telefon Tel Aviv's Video for "A Younger Version of Myself" — Post
|
[
"https://post-punk.com/wp-content/uploads/2019/08/postpunkcomblackline.png",
"https://post-punk.com/wp-content/uploads/2024/02/UrbanHeat_PP_bannerAd_final.gif",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow-1.png",
"https://post-punk.com/wp-content/uploads/2019/08/postpunkcomblackline.png",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow.png",
"https://post-punk.com/wp-content/uploads/2019/08/ayoungerversionofmyself-1920x1080.png",
"https://post-punk.com/wp-content/uploads/2024/08/AMOC-2024-BANNER.jpg",
"https://post-punk.com/wp-content/uploads/2024/06/banner-postpunk-11.gif",
"https://post-punk.com/wp-content/uploads/2020/10/Merch-Now-Available.jpg",
"https://secure.gravatar.com/avatar/d07fd37b41874f7c4f4f4526c171fe7e?s=120&d=mm&r=g",
"https://post-punk.com/wp-content/uploads/2019/08/sleepers-560x420.png",
"https://post-punk.com/wp-content/uploads/2019/08/kmlive2-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Daniel-Knutz-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Third-Arrow-Promo-Pic-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Photo-by-Ebru-Yildiz-WEB-3-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/loveandrocketsheader-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/The-Curse-Omar-Doom-Still_-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/Backyard-Ritual-560x420.png",
"https://post-punk.com/wp-content/uploads/2024/08/The-Sheila-Divine-560x420.jpg",
"https://post-punk.com/wp-content/uploads/2024/08/image0-1-560x420.jpeg",
"https://post-punk.com/wp-content/uploads/2024/06/image001.gif",
"https://post-punk.com/wp-content/uploads/2024/03/Master_WTlogo-Wire_White_300x600px.jpg",
"https://post-punk.com/wp-content/uploads/2024/04/POSTPUNK-APRIL-JUNE-2024.gif",
"https://post-punk.com/wp-content/uploads/2024/03/Banner_Postpunk_AV091-AV092.gif",
"https://post-punk.com/wp-content/uploads/2024/05/Post-Punk-S-2024-1.gif",
"https://post-punk.com/wp-content/uploads/2024/02/240201-CHF24_insta.jpg",
"https://post-punk.com/wp-content/uploads/2024/03/NIGHT-SINS-POST-PUNK-AD.jpg",
"https://post-punk.com/wp-content/uploads/2022/08/BANNER_FABRIKA-RECORDS.gif",
"https://post-punk.com/wp-content/uploads/2020/05/dka-ad.jpg",
"https://post-punk.com/wp-content/uploads/2020/04/postpunkglow.png",
"https://post-punk.com/wp-content/uploads/2024/04/Post-Punk_T-shirt-Mockup_lrg-scaled.jpg"
] |
[
"https://www.youtube.com/embed/uQE-t6K1jWY"
] |
[] |
[
""
] | null |
[
"post-punk.com",
"Alice Teeple",
"Frank Deserto",
"www.facebook.com"
] |
2019-08-30T18:24:56+00:00
|
Following a series of great production work, such as with Drab Majesty on The Demonstration, and Modern Mirror, Joshua Eustis is back with the first Telefon Tel Aviv album in…
|
en
|
Post-Punk.com
|
https://post-punk.com/erased-by-ai-in-telefon-tel-avivs-video-for-a-younger-version-of-myself/
|
Following a series of great production work, such as with Drab Majesty on The Demonstration, and Modern Mirror, Joshua Eustis is back with the first Telefon Tel Aviv album in 10 years, titled Dreams Are Not Enough—which will be out September 27 via Ghostly.
In his video for the album’s second single “A Younger Version of Myself”, Eustis has teamed up with director Lance Drake, and programmer Michail Rybakov, to create an audiovisual piece that captures the angst-ridden zeitgeist of our current relationship with technology.
“A sophisticated AI neural network tracks and selectively erases Telefon Tel Aviv from the transient spaces of the nighttime Los Angeles Landscape…”
“Last autumn I was researching the topic of an organism and its environment, and how to visualize the interconnection between the two. After all, we are made of what we eat, where we live, what tools we use as well as all the non-human entities that live on and in us.
One approach I took was to let the machine find and remove human bodies and let it fill in what it thinks would belong there. As a result, a gooey, trembling, impermanent mass would appear instead of a body, a mass full of sticks and stones, clouds and lights, walls and birds and all the other stuff that surrounds us in our daily lives. In addition, letting the machine decide what constitutes a human body, letting the machine remove what it sees feels… wrong somehow; feels as if Asimov’s three laws of AI are in need of an amendment – ‘You shall not remove those who created you’.” -Michail Rybakov
‘“This is sort of a love letter to the lonely places in LA, a city that is overrun with humanity but still full of emptiness and a sort of hard underbelly that isn’t really seen unless it’s sought out. It seemed an appropriate backdrop for the socio-political commentary of the song, since the loneliness resulting from the farce of American individualism and our current post-capitalist dread are consistent daily counterweights to happiness and peace for far too many, while we also grapple with our own personal issues.” – Joshua Eustis [Telfon tel Aviv]
Watch the video for “A Younger Version of Myself” below
Order ‘Dreams Are Not Enough’ at Ghostly, or at the retailer of your choice: Here
Telefon Tel Aviv – 2019 Tour Dates
|
|||||
9034
|
dbpedia
|
0
| 40
|
https://www.ses.com/contact-us/our-offices
|
en
|
Our Offices
|
https://www.ses.com/themes/custom/ses-ui/favicon.ico
|
https://www.ses.com/themes/custom/ses-ui/favicon.ico
|
[
"https://www.ses.com/sites/default/files/styles/default/public/2023-03/SES_Gov_ISR_banner_image.jpg?h=35ae472e&itok=QNxLTPQR",
"https://www.ses.com/sites/default/files/styles/default/public/oembed_thumbnails/FwWkLxw4Q-AvgEaOPyeqbe1p8Xl0N-r2OycyTvHNVnU.jpg?h=7b436a88&itok=mq2VREV2",
"https://www.ses.com/sites/default/files/styles/default/public/2023-03/SES-Satellite-Stories-Podcast-O3b-mPOWER-launch.jpg?h=b1a91ebe&itok=ORQ7DxKU",
"https://www.ses.com/sites/default/files/styles/default/public/2024-01/SES-Case-Study-Mercy-Ships-banner-image2.jpg?h=4017dd77&itok=-0vu-EGE",
"https://www.ses.com/sites/default/files/styles/default/public/2021-03/environment-banner.jpg?h=a5d057f6&itok=DNUDVVHf",
"https://www.ses.com/sites/default/files/styles/default/public/2021-04/customer-terms-banner.jpg?h=4017dd77&itok=hgYmQavo"
] |
[] |
[] |
[
"satellites",
"network communications",
""
] | null |
[] |
2017-03-24T00:00:00
|
en
|
/themes/custom/ses-ui/favicon.ico
|
SES
|
https://www.ses.com/contact-us/our-offices
|
We are the world-leading satellite operator, providing reliable and secure communications solutions across the globe. Our local teams have years of regional expertise to assist you and your customers with services tailored to your specific requirements.
North America
Bristow
8050 Piney Branch Lane
20136 VA
United States
Telephone +1 571 393 2916
Reston
SES Space & Defense
11790 Sunrise Valley Drive, Suite 300
20191 VA
United States
Telephone +1 703 610 1000
Washington DC
Suite 1000, 1129 20th Street, N.W.
20036 DC
United States
Telephone +1 202 478 7100
Latin America
Bogotá
Wework, El Retiro, Carrera 12a #78-40, Office 03-112
110221 DC
Colombia
Telephone +57 311 202 4319
Mexico
Boulevard Miguel de Cervantes Saavedra #169, Suite 10-110
11520 CDMX
Mexico
Telephone +52 55 5283 2420
São Paulo
Av. das Nações Unidas, 12,551
São Paulo 04578-900 SP
Brazil
Telephone +55 11 4302 2250
Europe
Bucharest
3 George Constantinescu Street, BOC Tower, entrance B, 4th floor
Bucharest 020339
Romania
Kyiv
36 Franka str.
01054 Kyiv city
Ukraine
Telephone +38 050 311 46 67
Stockholm
CONVENDUM, Västra Järnvägsgatan 3
Stockholm 11164
Sweden
facebook
linkedin
youtube
instagram
x
The Hague
Rooseveltplantsoen 4
The Hague 2517 KR
Netherlands
Telephone +31 70 306 4100
Africa
Addis Ababa
Medahenealm building, 7th floor, Bole Sub City, Wereda 03/04
Addis Ababa
Ethiopia
Telephone +251 1166 70744
facebook
linkedin
youtube
instagram
x
Middle East
Emek Ha'Ela
Ha'Ela Satellite Station
DN 9985500
Israel
Telephone +972 3 9280808
Dubai
Shatha Tower, 28th Floor, Office 2812-2815, Dubai Media City, Dubai
Dubai
United Arab Emirates
Telephone +971 4 586 2300
Asia-Pacific
|
|||
9034
|
dbpedia
|
2
| 18
|
https://www.nbcchicago.com/local/trans-r-i-p-charlie-cooper-of-telefon-tel-aviv/1865400/
|
en
|
R.I.P. Charlie Cooper of Telefon Tel Aviv
|
[
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Dark.png?fit=432%2C120&quality=85&strip=all&w=144&h=40",
"https://media.nbcchicago.com/2019/09/OTT-Chicago.png?fit=1920%2C1080&quality=85&strip=all&w=400&h=44&crop=1",
"http://i58.photobucket.com/albums/g251/chitty2bling2/GB/ccooper.jpg",
"http://feedads.googleadservices.com/~a/pEG7nUVR5Jcpp-fdFJsDwTS6eKg/i",
"http://feeds2.feedburner.com/~r/gapersblock/transmission/~4/yLbSZ8ADZZE",
"https://media.nbcchicago.com/2024/05/Chicago-web@3x_29d4da.png?fit=717%2C72&quality=85&strip=all",
"https://nbcu.tmsimg.com/assets/p25637924_b_h10_aa.jpg?w=960&h=540",
"https://media.nbcchicago.com/2020/12/CrimeTape-2.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2021/08/106931894-1629743782371-Apple_Crisp_Macchiato.jpeg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/08/wabash-street-closure.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/08/trump-vance-projections-2.png?resize=100%2C56&quality=85&strip=all",
"https://media.nbcchicago.com/2024/08/74575918544__A1224076-B44A-4ED0-AECB-4E3C8130A9E1.jpg?quality=85&strip=all&resize=100%2C56",
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Light.png?fit=432%2C120&quality=85&strip=all",
"https://sb.scorecardresearch.com/p?c1=2&c2=6035083&cv=2.0&cj=1",
"https://media.nbcchicago.com/2024/04/WMAQ-Dgtl-Oly-On-Light.png?fit=432%2C120&quality=85&strip=all"
] |
[] |
[] |
[
""
] | null |
[] |
2009-01-27T16:54:51
|
News has been circulating today concerning the death of Charles Cooper, member of the Chicago-based electronic music outfit Telefon Tel Aviv. Cooper’s body...
|
en
|
NBC Chicago
|
https://www.nbcchicago.com/local/trans-r-i-p-charlie-cooper-of-telefon-tel-aviv/1865400/
|
News has been circulating today concerning the death of Charles Cooper, member of the Chicago-based electronic music outfit Telefon Tel Aviv. Cooper's body was found yesterday, with the date of his death reported as having occurred on Thursday, January 22. As of this morning, the cause of death has yet to be officially declared, pending an autopsy.
The duo of Charles Cooper and Joshua Eustis first began working together as Telefon Tel Aviv in New Orleans during the late 1990s. They released their debut album, Fahrenheit Fair Enough, via Chicago's Hefty Records in 2001 -- an album of lush, jazz-tinged downtempo electronica that caught the attention of listeners and fit perfectly alongside the work of such contemporaries as Prefuse 73 and DJ Shadow. They relocated to the Windy City later that same year, and a second album followed in 2004. Having earned an international fan base, the duo recently signed to Ellen Allien's Berlin-based BPitch Control, and released their third LP exactly one week ago today.
|
|||||
9034
|
dbpedia
|
0
| 6
|
https://www.last.fm/music/Telefon%2BTel%2BAviv
|
en
|
Telefon Tel Aviv music, videos, stats, and photos
|
[
"https://www.last.fm/static/images/defaults/player_default_album.430223706b14.png",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b86ead6cb3d854a5f17fc1af73f5f71b.jpg",
"https://img.youtube.com/vi/MQ2qEah8Fns/0.jpg",
"https://www.last.fm/static/images/dummy_user1_48@2x.55894782493f.png",
"https://www.last.fm/static/images/dummy_user2_48@2x.f6167a344161.png",
"https://www.last.fm/static/images/dummy_user3_48@2x.328e35aa45e7.png",
"https://lastfm.freetls.fastly.net/i/u/300x300/cdeeb5757b0645238ba356275e959186.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/9945f056bea1c7a91666e359fd37886d.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0fce03ff75b319705df0552472e159fb.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/156c3f8a483749ef7faba71e9ab401fc.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/64s/741c5f4224e54218c27b0fcee6a85fe2.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/741c5f4224e54218c27b0fcee6a85fe2.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/227c97fc80f3325dd7e6348c1f8bb31b.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/6bd098ca3cb9731b92213c3b9c4cb2df.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/88bc4e47d4ffc0eab18f8759e96be5ac.jpg",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/e2c183f9c3fc46d3c6d2d1b7644f313f",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/5fe22d54f9b645bc819f6ff3957e0c75",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/8119559a57cd4d9a910bc86764f22192",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9700b8e91e62b9ba9736ba9973ad8eac",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/894cc596c35f134f05e14b31f731349b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b5ed94201c084a46a9070fe1e1d24231",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/37eed8e90fd0416fbb4e71ca698a49d7",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/ee683ed561d04b7a991c46c0b3caf4df",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9392b056ea50657d04378d561091d82b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/0c6c18c4657843ca819e9a0f7d84ee52",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/e2c183f9c3fc46d3c6d2d1b7644f313f",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/5fe22d54f9b645bc819f6ff3957e0c75",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/8119559a57cd4d9a910bc86764f22192",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9700b8e91e62b9ba9736ba9973ad8eac",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/894cc596c35f134f05e14b31f731349b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/b5ed94201c084a46a9070fe1e1d24231",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/37eed8e90fd0416fbb4e71ca698a49d7",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/ee683ed561d04b7a991c46c0b3caf4df",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/9392b056ea50657d04378d561091d82b",
"https://lastfm.freetls.fastly.net/i/u/avatar170s/0c6c18c4657843ca819e9a0f7d84ee52",
"https://lastfm.freetls.fastly.net/i/u/300x300/cdeeb5757b0645238ba356275e959186.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/9945f056bea1c7a91666e359fd37886d.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0fce03ff75b319705df0552472e159fb.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/0201524b040a45ecc513d8925cf3ce51.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/a61e4b6956b147f4ac6acad88774c714.jpg",
"https://lastfm.freetls.fastly.net/i/u/300x300/66cbaefb8480570434f09841b4e99a28.jpg",
"https://www.last.fm/static/images/footer_logo@2x.49ca51948b0a.png"
] |
[] |
[] |
[
""
] | null |
[] |
2024-02-19T00:00:00
|
Listen to music from Telefon Tel Aviv like Fahrenheit Fair Enough, The Birds & more. Find the latest tracks, albums, and images from Telefon Tel Aviv.
|
en
|
Last.fm
|
https://www.last.fm/music/Telefon%2BTel%2BAviv
|
188 186 200 172 185 155 166 209 220 217 195 194 172 178 186 204 217 211 204 197 174 188 194 206 215 206 209 169 171 182 196 176 183 165 179 195 209 204 212 193 153 170 193 203 223 217 164 160 142 160 174 195 170 186 142 162 181 231 196 206 184 172 169 181 211 194 201 184 147 173 187 167 179 177 166 112 156 165 203 158 191 200 150 148 179 173 173 201 175 153 156 179 195 198 221 180 168 172 168 172 189 187 185 164 163 185 186 191 177 197 149 145 170 182 175 186 168 155 163 187 202 186 176 184 155 148 156 167 203 199 199 154 170 188 210 198 191 162 139 145 173 191 215 171 186 171 137 189 188 166 168 159 143 149 179 170 172 176 169 140 156 163 170 174 178 170 152 165 179 186 188 193 157 152 152 159 195 163 177 171 172 188 186 200 172 185 155 166 209 220 217 195 194 172 178 186 204 217 211 204 197 174 188 194 206 215 206 209 169 171 182 196 176 183 165 179 195 209 204 212 193 153 170 193 203 223 217 164 160 142 160 174 195 170 186 142 162 181 231 196 206 184 172 169 181 211 194 201 184 147 173 187 167 179 177 166 112 156 165 203 158 191 200 150 148 179 173 173 201 175 153 156 179 195 198 221 180 168 172 168 172 189 187 185 164 163 185 186 191 177 197 149 145 182 175 186 168 155 163 187 202 186 176 184 155 148 156 167 203 199 199 154 170 162 139 145 173 191 215 171 186 171 137 189 188 166 168 159 143 149 179 170 172 176 169 140 156 163 170 174 178 170 152 165 179 186 188 193 157 152 152 159 195 163 177 171 172
|
|||||
9034
|
dbpedia
|
2
| 63
|
https://www.israel21c.org/made-in-israel-the-top-64-innovations-developed-in-israel/
|
en
|
The top 64 innovations developed in Israel
|
[
"https://static.israel21c.org/www/images/21c_logo_1.svg",
"https://static.israel21c.org/www/images/israeli-flag-ribbon-s.png",
"https://static.israel21c.org/www/images/marker.svg",
"https://static.israel21c.org/dev/images/kim/KeepItMagniv_Primary.svg",
"https://static.israel21c.org/www/images/tooltip-icon.svg",
"https://static.israel21c.org/www/uploads/2012/04/shutterstock_1860174637-1.jpg",
"https://static.israel21c.org/www/uploads/terms-images/writers/Nicky_Blackburn-thumbnail.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/pillcam.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/Insightec-exablate-or-fn-1.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/copaxone.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/sambucol.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/rewalk.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/6-WatchPAT-200-Itamar-Medical.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/7-TransPharma-Medical.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/8-EndoPAT-Itamar-Medical.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/9-Brainsway.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/11-babysense-6-2.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/12-deep-breeze.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/13-Emergency-Bandage-First-Care-Products.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/14-superbug-kit.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/15-syneron-dentist.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/16-cupron.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/diskonkey.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/18-Windows_NT_3.5_logo.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/19-checkpoint.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/20-icq.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/21-intel-sandy-bridge-es.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/22-Motorola-Mobile-Phone.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/Kindle-Front1.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/25-PrimeSense-front-b-2.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/26-anobit.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/waze_logo.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/shaker.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/Quicktionary-2-Premium-lg2.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/powermat.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/objet.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/x-hawk.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/afimilk-11.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/IDE1.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/better-place-31.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/brightsource-11.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/pythagoras-11.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/Aora-11.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/seambiotics-11.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/Rummikub-Tiles-courtesy-wikipedia-commons1.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/ashpoopie.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/mobileye-close.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/epilady.png",
"https://www.israel21c.org/wp-content/uploads/2012/04/sodastream.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/powerangers.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/homeland.jpeg",
"https://www.israel21c.org/wp-content/uploads/2012/04/batsheva.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/voca-people.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/krav-maga-f901.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/dogtv-viewer.jpg",
"https://www.israel21c.org/wp-content/uploads/2012/04/intelligym.jpg",
"https://static.israel21c.org/www/uploads/2020/07/C_scan_male0097-368x207.jpg",
"https://static.israel21c.org/www/uploads/2016/07/F160721FFYS08-368x207.jpg",
"https://static.israel21c.org/www/uploads/2015/07/shutterstock_impossible-368x207.jpg",
"https://static.israel21c.org/www/uploads/2014/08/rotator-368x207.jpg",
"https://static.israel21c.org/www/uploads/2013/12/PillCamSB3-vertical-368x207.jpg",
"https://static.israel21c.org/www/uploads/2012/10/shutterstock_59338999-368x207.jpg",
"https://static.israel21c.org/www/uploads/2023/01/Jason_Harris.png",
"https://static.israel21c.org/www/uploads/2018/02/C-Scan-768x432.jpg",
"https://static.israel21c.org/www/uploads/2013/12/PillCamSB3-vertical.jpg",
"https://static.israel21c.org/www/uploads/2012/10/shutterstock_59338999.jpg",
"https://static.israel21c.org/www/images/21c_logo_white.svg",
"https://static.israel21c.org/www/images/kim/KeepItMagniv-footer.svg?a=1",
"https://static.israel21c.org/www/images/rgb_white.png"
] |
[] |
[] |
[
""
] | null |
[
"Nicky Blackburn",
"Send Link"
] |
2012-04-22T00:20:07+00:00
|
ISRAEL21c brings you the country's top 64 innovations -- developments that are transforming and enriching lives across the planet.
|
en
|
https://static.israel21c.org/www/images/favicon/favicon.ico
|
ISRAEL21c
|
https://www.israel21c.org/made-in-israel-the-top-64-innovations-developed-in-israel/
|
When Israel was founded nearly 76 years ago, it was a barren country with no natural resources, little water, and more than half of its land mass desert. The only thing the new country had going for it was the natural creativity of its people.
More than seven decades later, the Israelis have turned their country into an oasis of technology and innovation. With the most startups per capita worldwide, and the third highest number of patents per head, Israel has become one of the leading players in the world of high-tech innovation, attracting international giants to its shores.
From health breakthroughs to technology, agriculture, the environment and the arts, the country’s innovations are transforming and enriching lives everywhere. Israel today is playing a significant role in some of the most important challenges facing our planet.
Not bad for a country the size of New Jersey.
1. PillCam: Given Imaging
Founded by Dr. Gavriel Meron in 1998, Yokneam-based Given Imaging revolutionized the world of gastrointestinal diagnosis by developing a miniature camera in a pill, called the PillCam, to visualize and detect disorders of the GI tract.
The PillCam is now the gold standard for intestinal visualization and is sold in more than 60 countries around the world.
2. ExAblate: InSightec
In December last year, TIME magazine called InSightecâs FDA-approved MR Guided Focused Ultrasound one of the best 50 inventions of the year.
The 13-year-old Haifa company has developed a futuristic technology called ExAblate, a non-invasive, magnetic resonance-guided focused ultrasound surgery system that thermally ablates, or destroys, tumors inside the body. The device has huge potential to address a wide variety of medical problems, including many diseases that currently have no treatment.
3. Copaxone: Teva Pharmaceuticals
Copaxone (glatiramer acetate) was originally developed by a doctor at the Weizmann Institute of Science in Rehovot, and is now the world’s top-selling treatment for multiple sclerosis.
The drug is marketed by Petah Tikvah-based Teva Pharmaceuticals, and received FDA approval in 1996. Teva, which has 46,000 employees worldwide, is one of the top 15 pharmaceutical companies in the world and the largest generic pharmaceutical manufacturer.
4. Sambucol
For many people, the first line of defense against flu is Sambucol, an elderberry extract concocted by Israeli virologist Dr. Madeleine Mumcuoglu.
Elderberry has long been used as a folk remedy. Mumcuoglu studied it intensively, and after identifying the key active ingredient turned it into a natural formula that has become one of the most popular homeopathic treatments for flu on the market today.
Laboratory studies show that Sambucol is effective against human, swine and avian influenza strains. It is sold throughout the United States, Europe and Asia.
5. ReWalk Exoskeleton: Argo Medical Technologies
Everyone remembers when paraplegic Artie Abrams got up and walked for the first time in the popular TV program Glee. The incredible transition from wheelchair to walking was made with the help of a very real product, the ReWalk robotic exoskeleton developed by Yokneam-based Argo Medical Technologies.
ReWalk is the brainchild of Israeli electrical engineer Dr. Amit Goffer, who was left quadriplegic after an accident.The device includes leg braces with motorized joints and a backpack battery system, enabling paraplegics to walk and climb stairs without assistance for up to 12 hours a day.
6. WatchPAT 200: Itamar Medical
Herzliya-based Itamar Medical developed a miniature sleep lab that can be worn on the wrist and one finger to diagnose and identify the source of sleep problems.
WatchPAT, which allows patients to be diagnosed at home in their own beds rather than at hospital sleep clinics, was named one of the 10 best medical innovations for 2010 by the world-renowned Cleveland Clinic.
Sleep experts suspect that sleep disorders are at the root of many work- and automobile-related accidents, sexual dysfunction and depression.
7. TransPharma Medical
Imagine a no-pain vaccination or other infusion of a drug thatâs normally injected. TransPharma Medical, based in Lod, spent close to a decade perfecting a way to do just that. Its ViaDerm drug delivery system uses a no-fail, painless applicator loaded with pre-measured drug patches. The battery-operated applicator allows the medication to diffuse through the skin and into the bloodstream.
In cooperation with major pharmaceutical companies, ViaDerm is being tested clinically in several countries with the expectation of developing a welcome alternative for patients who must take daily medications prescribed for conditions such as diabetes and osteoporosis.
8. EndoPAT: Itamar Medical
Itamar Medical also created EndoPAT, a heart-smart device that uses a fingertip test to measure cardiac health, and can even predict whether the patient will suffer a heart attack in the next seven years.
The device, which uses two small probes that hook up to each index finger, has received a seal of approval from the prestigious Mayo Clinic.
9. Brainsway
Jerusalem-based Brainswaydeveloped a revolutionary painless, non-invasive deep electromagnetic stimulation device for the brain that can ease addiction, depression, autism and a range of other brain disorders, including Alzheimerâs disease and schizophrenia.
During the 15-minute treatment, patients wear a helmet with an electromagnetic energy-emitting coil positioned according to the area of the brain that needs stimulation. Trials are taking place successfully throughout Europe, North America and Israel.
10. Proneuron Biotechnologies
Award-winning research by Prof. Michal Schwartz at the Weizmann Institute of Science, Rehovot, has led to the development of promising new therapies for acute spinal-cord injuries.
The late actor Christopher Reeve visited Proneuron Biotechnologies, the Israeli biotech company set up to commercialize these technologies, and described Israel as the world center for research on paralysis treatment.
In 2007, Proneuron began developing a therapy for Parkinson’s disease with support from the Michael J. Fox Foundation.
11. Babysense
Babysense is a no-touch, no-radiation device designed to prevent crib death. Developed by Israeli company HiSense and released to the market in 1992, the device monitors a baby’s breathing and movements through the mattress during sleep.
An auditory and visual alarm is activated if breathing ceases for more than 20 seconds or if the breathing rate slows to less than 10 breaths per minute. It is sold across Europe, the United States and Asia.
12. Deep Breeze
Some 200 million people suffer from the progressive lung condition chronic obstructive pulmonary disease (COPD), and many face hospitalization several times a year.
Or Akiva-based Deep Breeze has developed an innovative medical device that will allow COPD patients to be monitored remotely from home. It can also image, diagnose and monitor patients suffering from asthma, congestive heart failure and other conditions affecting the lungs.
This is the second generation of the hospital-based Deep Breeze vibration-response imaging technology, approved by the FDA in 2007 and in use throughout the world.
13. Emergency Bandage: First Care Products
The Emergency Bandage was designed by an Israeli military medic, Bernard Bar-Natan, who noticed that bandages hadnât advanced for decades. It can be applied with one hand and is used to stop bleeding from hemorrhaging wounds caused by traumatic injuries in the field.
Manufactured by First Care Products in Lod, it was first used for saving lives during a NATO peacekeeping operation in Bosnia and is now used by the armies and special forces of the United States, Australia, New Zealand, and other countries.
In January 2011 the Emergency Bandage was reportedly instrumental in saving the life of US Representative Gabrielle Giffords and others wounded in a Tucson shooting.
14. Superbug Detective Kit
A 91-year-old Hebrew University professor, Prof. Nathan Citri, recently invented a simple new diagnosis kit for antibiotic-resistant superbugs that can identify the type of bug in minutes rather than the current five days.
With superbugs now one of the top killers in US and European hospitals, Citri’s medical kit puts Israel way out front in the worldwide fight against these dangerous new bacteria. The kit is now being commercialized by BioConnections, a British company.
15. LiteTouch: Syneron Dental Lasers
Today some 12 percent of dentists worldwide have ditched the unpleasant drill and replaced it with lasers to shape teeth and gums. The wired optic fibers that deliver the laser beam, however, are unwieldy and difficult to focus precisely.
Yokneam-based Syneron Dental Lasers is changing all that with the LiteTouch dental laser, which does away with accompanying wires and connections. On sale since 2007, the device is popular in Europe and Asia.
16. Cupron
Israeli company Cupron uses copper oxide in fabrics to provide a range of innovative products, from an antimicrobial mask and latex gloves to use as protection from flu germs and bacteria, to socks that donât get smelly — even if you donât wash them — and pillowcases that help reduce wrinkles while you sleep.
Jeff Gabbai, founder and CEO of the company, calls Cupronâs product âthe fabric that fights back.â Treated material is capable of destroying any bacteria, fungi and viruses that come into contact with it, according to the company.
17. Disk-on-Key
The Disk-on-Key was developed by M-Systems, a company founded by three Israelis. The data storage device was launched in September 2000, and since then has become almost as ubiquitous worldwide as the paper clip.
In 2005, PC World called the device one of the world’s top 10 gadgets in the last 50 years. M-Systems was purchased by the US corporation SanDisk in 2006 for $1.6 billion.
18. Windows NT and XP Operating Systems
Microsoft’s two most popular operating systems, NT and XP, were developed primarily in Israel. Microsoft has had a strong presence in Israel for many years, and has two R&D centers in Herzliya that employ 600 people.
In 2008, Microsoft CEO Steve Ballmer said that the American software giant is as much Israeli as it is American. Last year, Microsoft Israel announced that 13 new products are being developed at its offices, while in March, Microsoft announced that it is setting up its first-ever startup incubator in Israel.
19. Checkpoint Software Technologies
Checkpoint Software Technologies was founded in 1993 in a small Ramat Gan apartment by 25-year-old Gil Shwed and two of his friends. They created the modern commercial computer network firewall, offering vital protection to computers worldwide from the dangers of cyberspace.
Today the company is one of the world’s leading providers of IT security solutions, with some 100,000 customers, and 2,300 employees worldwide.
20. ICQ
In Israel, everyone remembers the story of ICQ, the instant messaging computer program developed by five young computer geeks from Israel.
The entrepreneurs, including the son of Internet guru Yossi Vardi, released the first version of their program free of charge in 1996. The first Internet-wide instant messaging service took the world by storm.
Two years later the company was acquired for $407 million by AOL. At that time, it was the highest price ever paid to purchase an Israeli technology company. AOL later sold ICQ to Digital Sky Technologies in April 2010 for $187.5 million.
21. SandyBridge and Centrino processors: Intel
Semiconductor chip maker Intel was one of the first multinationals to come to Israel. It set up a small chip design center in Haifa in 1974 — Intel’s first outside of the United States.
Today Intel Israel employs 7,800 people, and is the corporation’s headquarters for global R&D for wireless technology. The 8088 processor was designed and developed here, as was the Centrino and the SandyBridge, powering millions of laptops worldwide.
In March, Intel Israel’s general manager, Maxine Fassberg, announced that the SandyBridge processor accounts for 40 percent of the chip giant’s revenue. In 2011, Intel Israel’s exports totaled $2.2 billion.
22. Mobile phones: Motorola
The cellular phone would still look like an oversized brick if it weren’t for Israeli know-how in mobile technologies. It was at Motorola’s Israel R&D center that Israeli engineers first developed original cell-phone technology.
Most of the technology in your mobile phone can be traced back to Israeli engineering. From the tool that guards your mobile identity to a new keyboard solution, Israeli expertise keeps your phone from getting bigger yet staying cutting edge.
23. Oracle Israel and the Amazon Kindle
The Java platform inside Amazon’s best-selling Kindle was developed in Israel. Some four years ago, Amazon contacted Sun, later acquired by Oracle, and asked the company to develop a customized platform to run the software in a new e-book reader device under design.
Sun handed the project on to its Israeli R&D office in Herzliya, and it was designed and developed there. After several years, a prototype was created to Amazonâs satisfaction, and manufacturing began. Amazon is now the undisputed leader in the e-reader category.
24. Printing press: HP Indigo
Israeli inventor Benny Landa revolutionized the world of digital printing when his Rehovot company, Indigo, launched the E-Print 1000 in 1993. It was a turning point for the printing industry, enabling printers to print directly from a computer file.
Hewlett Packard (HP) acquired Indigo in 2001 for $650 million. Now HP Indigo has become the world leader in digital commercial presses, and is ranked number one in the US high volume digital press market.
Landa, who has more than 500 patents to his name worldwide, is expected to unveil a new development, nanography digital printing, in May.
25. 3D sensing technology: PrimeSense
PrimeSense revolutionized interaction with digital devices by allowing them to “see” in 3D and transfer control from remote controls and joysticks to hands and body.
Today the seven-year-old Tel Aviv company is the leading business provider of low-cost, high-performance 3D machine vision technologies for the consumer market and makes the core component in Microsoft’s Xbox and Kinect gaming systems.
26. Anobit
Israeli flash memory developer Anobit has developed a chip that significantly improves the endurance, performance and cost of flash storage products and systems. The chips can already be found in Apple’s iPhone, iPad and MacBook Air, as well as in several Samsung devices.
Apple purchased the six-year-old Herzliya company, which has a portfolio of 65 patents, for a reported $390 million in January this year.
27. Answers.com
We all have questions, and one of the best ways to get them answered these days is to turn to the online Q&A site Answers.com.
The Jerusalem- and New York-based company was founded in 1999 by Bob Rosenschein. It’s now one of the most popular Internet sites in the world — with about 50 million unique visitors a month in the US alone, and 75 million worldwide — making it one of the top 30 websites globally.
The NASDAQ-traded company includes WikiAnswers and ReferenceAnswers, and was recently purchased by equity investor Summit Partners for $127m.
28. Waze
Israeli startup Waze has developed a mobile smartphone app that can determine where traffic is flowing or slowing, based on user-generated data from the phoneâs GPS. If the GPS tracking is standing still, Waze assumes the car is, too.
Waze, founded in 2008, is popular in big US cities — Los Angeles, San Francisco, Boston, Dallas and Washington, DC — as well as Israel, Italy, France, Sweden; Costa Rica, Colombia, Panama, Venezuela and Mexico.
ABC-TV used Waze when LA’s largest highway closed down last July, helping viewers avoid traffic chaos. The news channel is now rolling out the same partnership in other US cities.
29. Babylon
It may be a global world, but we still don’t all speak the same language. Babylon.com has stepped in as the world’s official online translator.
Founded in 1997, the company provides online users with a dictionary, translation software, language learning solutions and English writing enhancement.
The company has more than 100 million desktop installations in some 231 countries and is available in 75 languages. Every day, 40 million unique visitors come to the site.
30. Shaker
Shaker has developed an award-winning virtual bar application that takes Facebook to the next level. The Facebook app recreates social experiences online, allowing people to socialize and meet around mutual friends with shared interests.
In the last six months, the company — which was founded by five students from the Herzliya Interdisciplinary Center (IDC) — has raised more than $17 million in financing from investors including Motorola Mobility Ventures, Michael Arrington’s CrunchFund, Eric Schmidt’s Innovation Endeavors and Lady Gaga manager Troy Carter.
In September last year the company won the prestigious Startup Battlefield contest at TechCrunch Disrupt San Francisco. In February the company teamed with the NBA to host fans in the basketball league’s first-ever online arena.
31. Quicktionary
The Quicktionary is a portable electronic pen that can scan printed text and immediately translate it word for word into other languages. The translation is displayed on an LCD screen and kept in the memory so that it can be transferred to a computer.
The device was developed by Wizcom Technologies, which was originally based in Jerusalem but moved to Massachusetts.
32. Powermat
If youâre fed up with all those power cables running under your desk or around your kitchen, Powermat offers a better way. The Jerusalem-based company lets you embed a power grid in just about anything — a desk, a kitchen counter, airport seats or the inside of a car. All you have to do is position electronic devices on a power hotspot.
Powermat is available through Homedics in the United States, and has signed significant deals with Duracell and with American auto maker General Motors. GM invested $5 million in the company and plans to build in Powermat chargers between the seats of its hybrid electric Chevy Volt.
33. Magshoe: IDO Security
We all hate taking off our shoes at airport security, but now — thanks to IDO Security — we won’t have to. The company’s Magshoe Shoe Scanning Device screens the lower body and feet with a simple step-on device that takes just seconds. The device, already in use in airports around the world, maximizes security, and minimizes queues — to the great relief of air travelers.
34. Objet
Israeli 3D printer company Objet recently announced a merger with American 3D printer maker Stratasys that will create a $1.4 billion company with dual headquarters in Eden Prairie, Minnesota and Rehovot, Israel.
Objet was founded in 1998 by veteran Israeli printing engineers. The company has about 440 employees, more than half of whom work in Israel. Under the corporate name Stratasys, it will continue to develop a broad range of exciting 3D print applications to customers worldwide.
35. Playstation3 â IBM Haifa
Circuit technology engineers at the IBM Haifa Development Lab played an integral role in developing the cell broadband engine chip controller that powers the Sony Playstation3 introduced in late 2006.
The idea for the powerful chip came from Sony-Toshiba-IBM and was turned into an actual product through the collective efforts of 30 researchers working in Israel. The Playstation3 sold 197,000 units on the first day of its debut on the market, and one million within the first six weeks.
IBM R&D Labs in Israel was established in 1950 and now encompasses about 1,000 employees at the Haifa Research Lab, the IBM Israel Systems and Technology Group Lab and the IBM Israel Software Lab. Locations include Haifa, Tel Aviv, Herzliya, Rehovot and Jerusalem.
36. X-Hawk: Urban Aeronautics
Ten years after Israeli engineer Rafi Yoeli began developing a flying car, the concept still sounds futuristic. The car, called the X-Hawk, and a smaller unmanned version called the AirMule, are designed for use in search-and-rescue operations where a helicopter would be useless or dangerous — evacuating people from burning buildings, say, or extracting people from confined spaces.
The X-Hawk is a vertical take-off and landing aircraft with no exposed rotors. Built by Yoeli’s company, Urban Aeronautics, the flying car is sparking a great deal of interest around the world.
37. Drip irrigation: Netafim
Amazing to think that the huge worldwide industry of modern drip irrigation all began when Israeli engineer Simcha Blass noticed a tree growing bigger than its neighbors in the Israeli desert, and found that it was fed by a leaking water pipe.
Today, Netafim, the company founded in 1965 to commercialize his idea, is recognized as the worldwide pioneer in smart drip- and micro-irrigation. It has revolutionized the agricultural industry, operating systems in 112 countries with 13 factories throughout the world and 2,400 employees.
38. Cherry tomato
The modern cherry tomato, with its long shelf life, abundant growth, disease resistance and robust appearance and taste, is based on Israeli breakthroughs in the early 1970s.
Botanists at the Agriculture School of the Hebrew University of Jerusalem were the first to develop tomato hybrids that took all the best aspects of existing plants and combined them for a better product.
Continuing improvements to the cherry tomato have been made over the years in Israel by BonTom, a world-renowned tomato-breeding group under the university’s Yissum Research Development technology transfer company; and by Hishtil, a global market leader in the field of advanced horticultural nurseries.
39. AfiMilk
Thirty-five-year-old Kibbutz Afikimâs company AfiMilk is the global leader in computerized systems for dairy farm and herd management. The company, which was founded by a member of the kibbutz, introduced the world’s first electronic milk meter in 1977, and since then continues to develop cutting-edge solutions for the milking parlor.
To date, the company has installed more than 1,600 computerized management systems, 110,000 milk meters and one million ID tags in more than 50 countries worldwide. It owns about one-third of the US market. The company is also helping transform the dairy industry in developing markets such as China (https://www.israel21c.org/environment/israel-helps-transform-chinas-dairy-industry).
40. Improved Potato strains
With food resources becoming increasingly scarce, the Hebrew University of Jerusalemâs Professor David Levy developed new strains of potato that can be grown in hot, dry climates and irrigated by saline water sources.
His development will have a huge impact on potato production in hot desert regions of the world, enabling many countries to improve their food production and their economies.
41. Grow Fish Anywhere
With overfishing becoming a serious issue worldwide, the Israeli company Grow Fish Anywhere Advanced Systems has discovered a way to raise fish on land, without any of the usual pollution problems.
The fish are grown in tanks whose water is treated by biological filters and specially developed bacteria, so fresh water is only added when it evaporates. There is no dangerous waste to pollute the environment. The system can be set up to raise saltwater fish anywhere in the world, even in the desert.
The company has a plant operating in New York, and supplies about 100 tons of sea fish a year to the US market.
42. Desalination: IDE Technologies
Israelâs IDE Technologies is the leading company worldwide in desalination — the process of turning seawater into drinking water — with 400 desalination plants in 40 countries producing 2,000,000 cubic meters of water a day.
IDE Technologies operates the worldâs two largest desalination plants in Israel and is now building Chinaâs largest and greenest desalination plant. The new plant uses runoff steam from a power plant to help run the desalination machinery — producing water for the power plant, drinking water for the community and salt to sell.
43. Snow-making: IDE Technologies
Ironically for a country based in the boiling Middle East, IDE also boasts technological breakthroughs in snowmaking. The company has developed the Vacuum Ice Maker technology, which is used in a range of all-weather snowmaking and refrigeration applications.
IDE products are used to cool the worldâs deepest gold mine in South Africa, and to provide snow to ski resorts in Austria and Switzerland.
44. Better Place
When a German economist asked delegates at the World Economic Forum in Davos, Switzerland in 2005 “How do you make the world a better place by 2020?,” Israeli native Shai Agassi — a prominent executive at SAP — took the question seriously.
Better Place was his answer. The Israeli-American company he founded and now leads has developed the vital infrastructure to support electric cars. Deployments have already been announced in Israel, Denmark, Hawaii, Australia, Ontario, Oregon and California, though none has yet progressed beyond demonstration stage.
Better Place’s primary R&D facility is located in Tel Aviv, and in January this year, the first production Renault Fluence ZE was delivered to Israel and allocated to company employees. Retail sales are just beginning.
45. BrightSource Energy
In 2010, US President Barack Obama called Israelâs BrightSource Energy a “revolutionary new type of solar power plant.”
The company, which is based in Jerusalem and has a development center in the Negev, was founded by solar energy pioneer Arnold Goldman.
In recent years, BrightSource has signed the two largest solar power agreements in the world — to produce 1,300 megawatts for Southern California Edison, and 1,310 megawatts for Pacific Gas & Electric Company, creating solar energy that will power up to 140,000 US homes..
46. Pythagoras Solar
Pythagoras Solar has developed the world’s first solar window, which can generate power, reduce energy consumption and let in daylight.
The transparent photovoltaic glass window promises a green revolution to the construction industry. It can be easily integrated into conventional building design, allowing existing office blocks to be retrofitted with the new material instead of energy-seeping glass windows.
47. AORA
Israeli company AORA has constructed the world’s first gas turbine solar thermal power station in the desert near Eilat and has now built another demo power plant in Spain.
The small-scale system uses giant yellow tulip-shaped solar receivers fitted with 100-kilowatt gas turbines, which heat air to about 1,000 degrees Celsius using the sun’s energy, directing the heated air to a turbine that then converts thermal energy to electric energy.
48. Seambiotic
Israel’s Seambiotic is turning harmful carbon dioxide emitted by power plants into fuel and nutraceuticals with the help of algae.
The Tel Aviv company connects a power plant flue to a series of algae-munching ponds. Aside from reducing greenhouse gas emissions, the algae also produce a valuable nutraceutical especially popular in Asia.
Seambiotic already has business deals in the United States, Italy and China, and is working with NASA to develop a commercially feasible biofuel variety from algae.
49. Lawn-mowing robot
Friendly Robotics was founded in 1995 in Pardesiya in Israel by Udi Peless and Shai Abramson with the goal of creating robots that would do mundane tasks around the home.
In 1998, they released the Robomow, an automatic lawnmower. It was later followed by a robotic vacuum cleaner. The âgreenâ products, which have zero emissions, are sold in the United States, Europe, Australia, New Zealand and South Africa. There are also plans to create snow removers, floor polishers and even an automatic mop.
50. Rummikub
The game Rummikub was invented by Ephraim Hertzano, a Romanian Jew who immigrated to pre-state Israel in the 1930s. He hand-made the sets and sold them door to door. Gradually the game took off and become Israel’s number one exported game. In 1977 it was the bestselling game in the United States.
51. AshPoopie
When an Israeli dog-owner got fined for failing to pick up after his pooch, he contacted Hebrew University biotech professor Oded Shoseyov and asked him to invent a better solution.
Shoseyovâs AshPoopie scoops up the droppings and turns them into odorless, sterile ash within seconds. The device is being developed in Israel by Paulee CleanTec, which is now finalizing the design ahead of a US launch this year.
52. Mobileye Products
Founded in 1999, Mobileye is today the global leader in the vehicle safety market, with an advanced driver-assistance system that can warn you of an impending accident in enough time to avert a collision.
Vehicles fitted with the system see a 40-50% drop in the number of accidents, according to the Jerusalem-based company. The technology, which can even stop a car if a driver doesn’t react quickly enough, is now becoming a standard feature in new models made by BMW, General Motors, Volvo, Hyundai, Ford and Citroen.
Coca-Cola is now installing the systems in its European vehicle fleet.
53. Epilady
When the Epilady was launched in 1986, it revolutionized the hair-removal market. The original Epilady epilator had a rotating spring that worked by catching hair and pulling it out. Current versions use a tweezing action — thought to be less painful.
Epilady may have pioneered the market, but Israeli and other international brands quickly caught up and overtook it. However, the company’s brand name is still the generic name for electric hair removers, and over its 24-year history almost 30 million Epilady units have been sold.
54. SodaStream
International company SodaClub, maker of home carbonation machines, was struggling when it was taken over in 2007 by Israeli entrepreneur Daniel Birnbaum. After more than 100 years, the fizz had gone out of the business.
Birnbaum rebranded the company SodaStream, headquartered it in Israel and turned the company around. Today its machines are sold in 40,000 stores in 41 countries, and about four million households own a SodaStream machine.
55. Max Brenner
Israeli chain Max Brenner, a specialist in all things chocolate, is now a popular name worldwide with chocolate shops and restaurants in Britain, the United States, Australia, the Philippines, Israel and Singapore.
The brand was established in 1995 by Oded Brenner and Max Fichtman, who were inspired by Roald Dahl’s Willy Wonka character and whimsically marketed it as Chocolate by the Bald Man. It is now owned by the Strauss Group, after it was acquired by Elite in 2001.
56. âParanormal Activityâ
It was the surprise hit of 2009 and it was made by an Israeli games programmer. Oren Peli’s supernatural horror movie âParanormal Activityâ was filmed over a seven-day period in Peli’s suburban US home with a crew of three, including his girlfriend and another Israeli friend.
The low-budget movie, which reportedly cost just $15,000 to make, earned over $100 million in the United States alone. Some reviewers called it the scariest film ever made.
It was picked up by Paramount Pictures and though Peli is no longer involved, it has become a successful franchise. In its opening weekend last year, âParanormal Activity 3â earned $53 million. Not surprisingly, Paramount confirmed that there will be a âParanormal Activity 4â coming soon.
57. âMighty Morphin Power Rangersâ
What child doesn’t know the TV show âPower Rangersâ? But what most audiences don’t realize is that the man who brought this long-running entertainment franchise to US televisions and cinemas is Israeli Haim Saban.
What child doesn’t know the TV show âPower Rangersâ? But what most audiences don’t realize is that the man who brought this long-running entertainment franchise to US televisions and cinemas is Israeli Haim Saban.
The children’s series, which features costumed heroes leaping around like ninjas, was first produced by his company Saban Entertainment and was an instant success when it debuted in 1993. Saban later sold the franchise, but repurchased it in 2010.
As of 2011, the show had morphed into 19 television seasons of 16 different series, plus two movies.
58. âHomelandâ/âIn Treatmentâ/âTraffic Lightâ
Hollywood has discovered Israel. In recent years, a slew of Israeli television series have been picked up in the United States and turned into some of the world’s most popular TV programs.
âHomeland,â the internationally acclaimed Showtime television series that won a Golden Globe last year, is based on the Israeli hit series âHatufimâ (). HBO’s award-winning show âIn Treatmentâ is based on Israel’s âBeTipul,â while Fox has debuted âTraffic Lightâ based on the Israeli comedy âRamzor.â US dra-medy âThe Ex Listâ is based on the Israeli series âThe Mythological X.â
In March, it was announced that the popular Israeli series âDanny Hollywoodâ will be remade in the United States as âJoey Dakotaâ.
59. Batsheva Dance Company
Founded in 1964 by Martha Graham and Baroness Batsheva DeRothschild, Batsheva is Israel’s leading dance company. Based in Tel Aviv, the troupe is internationally acclaimed.
The company’s artistic director is Ohad Naharin, founder of the widely popular dance technique Gaga.
60. âAluminumâ
Israeli dancer and choreographer Ilan Azriel was in a hardware store one day when some small aluminum tubing fell to the floor. He pushed his hand through the tube and was captivated by the movement.
He turned this inspiration into a full-length dance performance, âAluminum,â which combines movement and visual theater. The show has toured the world to great critical success.
61. Voca People
With their white-powdered faces and red lips, the Voca People are hard to miss. This internationally acclaimed ensemble of eight musician-actors has wowed millions around the world and is renowned for its a cappella singing and self-made musical effects.
Israeli producers Lior Kalfo and Shai Fishman created the theatrical troupe in Tel Aviv. The premise is that the singers are from a planet known as Voca and they’ve crashed onto Earth. The Voca People has three troupes on the go — in Israel, Europe and the United States. The American ensemble recently found a new home at off-Broadway’s New World Stages.
62. Krav Maga
Krav Maga is an eclectic self-defense system originally developed by Imi Sde-Or, a boxer who lived in Bratislava during the 1930s, in an effort to protect Jewish communities from growing anti-Semitism.
He immigrated to Israel and in 1948 when Israel was founded and the Israel Defense Forces born, he became the chief instructor for Krav Maga at the IDF School for Combat Fitness. Over the next 20 years he developed and refined the system for both civilian and military use.
Today is it used widely in Israel by the IDF, the Mossad and Shin Bet, and its popularity is growing worldwide. The CIA, FBI, US marshals, US police departments and SWAT teams all use the system. There are Krav Maga schools across the United States, Europe, Australia and South America.
63. DogTV
Israeli pet-lovers have created the first-ever US cable channel for dogs. DogTV is a new Israeli production being test-marketed on pets in San Diego, ahead of a US rollout by Time Warner and Cox Communications.
The new channel is scientifically programmed to keep dogs happy, stimulated and comforted when they’re home alone.
64. IntelliGym: ACE Technology
In the 1980s and 1990s, Israel-based Applied Cognitive Engineering (ACE) developed IntelliGym — software-based training tools to significantly improve the performance of competitive sport players, security personnel, fighter pilots, medical staff, traders and student test-takers.
Today the company is focused solely on the sports market, with the Basketball IntelliGym — one version used by NCAA Division 1 teams and another by consumers — and the Hockey IntelliGym, first used by US national teams with unprecedented results (nine gold medals out of 12 international tournaments over a period of two years) and later adopted by the NHL, collegiate and junior players all the way down to the Pewee level.
|
||||
9034
|
dbpedia
|
0
| 95
|
https://apnews.com/article/biden-netanyahu-3591fb5f82b22cf8e5d1060fccaef115
|
en
|
Biden tells Israel’s Netanyahu future US support for war depends on new steps to protect civilians
|
https://dims.apnews.com/dims4/default/43b7709/2147483647/strip/true/crop/4244x2387+0+275/resize/1440x810!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36
|
https://dims.apnews.com/dims4/default/43b7709/2147483647/strip/true/crop/4244x2387+0+275/resize/1440x810!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36
|
[
"https://assets.apnews.com/fa/ba/9258a7114f5ba5c7202aaa1bdd66/aplogo.svg",
"https://dims.apnews.com/dims4/default/94c503b/2147483647/strip/true/crop/640x236+0+0/resize/320x118!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc3%2F4c%2F65482a7b452db66043542c093eaf%2Fpromo-2x.png 1x,https://dims.apnews.com/dims4/default/6e4b276/2147483647/strip/true/crop/640x236+0+0/resize/640x236!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc3%2F4c%2F65482a7b452db66043542c093eaf%2Fpromo-2x.png 2x",
"https://dims.apnews.com/dims4/default/4ee1864/2147483647/strip/true/crop/1275x720+3+0/resize/170x96!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F13%2F75%2F5978c42f376d0e6413b638c2f0fc%2Fus-wh-briefing-biden-netanyahu-call-20240404cr-1920x1080.jpg 1x,https://dims.apnews.com/dims4/default/dca8635/2147483647/strip/true/crop/1275x720+3+0/resize/340x192!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F13%2F75%2F5978c42f376d0e6413b638c2f0fc%2Fus-wh-briefing-biden-netanyahu-call-20240404cr-1920x1080.jpg 2x",
"https://dims.apnews.com/dims4/default/6d89719/2147483647/strip/true/crop/1620x915+0+83/resize/170x96!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F4d%2Fc9%2Fca374b57fe7ebe35ed1eaf6d6265%2Fus-wh-biden-gaza-doctor-20240404cr-1920x1080.jpg 1x,https://dims.apnews.com/dims4/default/3fba9d4/2147483647/strip/true/crop/1620x915+0+83/resize/340x192!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F4d%2Fc9%2Fca374b57fe7ebe35ed1eaf6d6265%2Fus-wh-biden-gaza-doctor-20240404cr-1920x1080.jpg 2x",
"https://dims.apnews.com/dims4/default/eb93405/2147483647/strip/true/crop/4244x2937+0+0/resize/599x415!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36 1x,https://dims.apnews.com/dims4/default/9863ff9/2147483647/strip/true/crop/4244x2937+0+0/resize/1198x830!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36 2x",
"https://dims.apnews.com/dims4/default/19ae25a/2147483647/strip/true/crop/5852x3901+0+0/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F2b%2Fc3%2Fac68005e9436c2681c447fc65acc%2F5c221ca5402a476fa70454faf976aa16 1x,https://dims.apnews.com/dims4/default/428149c/2147483647/strip/true/crop/5852x3901+0+0/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F2b%2Fc3%2Fac68005e9436c2681c447fc65acc%2F5c221ca5402a476fa70454faf976aa16 2x",
"https://dims.apnews.com/dims4/default/3821d1d/2147483647/strip/true/crop/8490x5655+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F87%2F5b%2Fb7d4cb3f62e5093a7023f0a7bb0c%2F500756ed033e472085aa7f37ce1f2a58 1x,https://dims.apnews.com/dims4/default/16e7322/2147483647/strip/true/crop/8490x5655+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F87%2F5b%2Fb7d4cb3f62e5093a7023f0a7bb0c%2F500756ed033e472085aa7f37ce1f2a58 2x",
"https://dims.apnews.com/dims4/default/971462e/2147483647/strip/true/crop/2299x1531+0+41/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fcb%2F34%2F203584ecfc9f22983f15a5fec6ec%2F0511f0883f564df1a963ceef78db657f 1x,https://dims.apnews.com/dims4/default/c5a6121/2147483647/strip/true/crop/2299x1531+0+41/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fcb%2F34%2F203584ecfc9f22983f15a5fec6ec%2F0511f0883f564df1a963ceef78db657f 2x",
"https://dims.apnews.com/dims4/default/a62396b/2147483647/strip/true/crop/5500x3664+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fe4%2Fee%2F429d5c3643695b89519041e620b8%2Fcde5d968063a45ffa16afa38ae61cd56 1x,https://dims.apnews.com/dims4/default/20997ea/2147483647/strip/true/crop/5500x3664+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fe4%2Fee%2F429d5c3643695b89519041e620b8%2Fcde5d968063a45ffa16afa38ae61cd56 2x",
"https://dims.apnews.com/dims4/default/faee73c/2147483647/strip/true/crop/4244x2827+0+55/resize/767x511!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36 1x,https://dims.apnews.com/dims4/default/9e1a24a/2147483647/strip/true/crop/4244x2827+0+55/resize/1534x1022!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F71%2Ff8%2Ff2e283eadc59082df5a3e943807a%2F0e055863a3e5439696531a8f35068c36 2x",
"https://dims.apnews.com/dims4/default/3adb1a7/2147483647/strip/true/crop/5852x3899+0+1/resize/767x511!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F2b%2Fc3%2Fac68005e9436c2681c447fc65acc%2F5c221ca5402a476fa70454faf976aa16 1x,https://dims.apnews.com/dims4/default/ee1aba0/2147483647/strip/true/crop/5852x3899+0+1/resize/1534x1022!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F2b%2Fc3%2Fac68005e9436c2681c447fc65acc%2F5c221ca5402a476fa70454faf976aa16 2x",
"https://dims.apnews.com/dims4/default/d055295/2147483647/strip/true/crop/5500x3664+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Faf%2Fec%2F84497f2a7c368687dcec8b70953d%2F0cd4c5f739374fe3beba33157bd1b422 1x,https://dims.apnews.com/dims4/default/bae6835/2147483647/strip/true/crop/5500x3664+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Faf%2Fec%2F84497f2a7c368687dcec8b70953d%2F0cd4c5f739374fe3beba33157bd1b422 2x",
"https://dims.apnews.com/dims4/default/8c7867d/2147483647/strip/true/crop/6720x4476+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc1%2F8b%2F555c5f477557201aee358a24e1ce%2Fd9e48d772a7f47569275db291c0e53e9 1x,https://dims.apnews.com/dims4/default/787d619/2147483647/strip/true/crop/6720x4476+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc1%2F8b%2F555c5f477557201aee358a24e1ce%2Fd9e48d772a7f47569275db291c0e53e9 2x",
"https://dims.apnews.com/dims4/default/8c7867d/2147483647/strip/true/crop/6720x4476+0+2/resize/599x399!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc1%2F8b%2F555c5f477557201aee358a24e1ce%2Fd9e48d772a7f47569275db291c0e53e9 1x,https://dims.apnews.com/dims4/default/787d619/2147483647/strip/true/crop/6720x4476+0+2/resize/1198x798!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Fc1%2F8b%2F555c5f477557201aee358a24e1ce%2Fd9e48d772a7f47569275db291c0e53e9 2x",
"https://dims.apnews.com/dims4/default/dd375c0/2147483647/strip/true/crop/368x368+1+0/resize/100x100!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2F81%2F42%2F3291a5bd4c2eb8f43266035a1089%2Fmiller-zeke.jpeg",
"https://dims.apnews.com/dims4/default/8650001/2147483647/strip/true/crop/992x617+0+0/resize/225x140!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Ffc%2F24%2F7ff11448446fb8500bc984551325%2Faplogo-with-tagline.png 1x,https://dims.apnews.com/dims4/default/6669a9d/2147483647/strip/true/crop/992x617+0+0/resize/450x280!/quality/90/?url=https%3A%2F%2Fassets.apnews.com%2Ffc%2F24%2F7ff11448446fb8500bc984551325%2Faplogo-with-tagline.png 2x",
"https://sb.scorecardresearch.com/p?c1=2&c2=3005041&cv=4.4.0&cj=1"
] |
[] |
[] |
[
"Israel-Hamas war",
"Israel government",
"War and unrest",
"Joe Biden",
"Benjamin Netanyahu",
"Israel",
"Gaza Strip",
"General news",
"AP Top News",
"Washington news",
"w",
"Government and politics",
"Foreign aid",
"World news",
"United States government",
"World News"
] | null |
[
"AAMER MADHANI",
"ZEKE MILLER",
"apnews.com",
"aamer-madhani",
"zeke-miller"
] |
2024-04-04T17:51:02+00:00
|
Biden’s message marks a sharp change in his administration’s steadfast support for Israel’s war efforts.
|
en
|
/apple-touch-icon.png
|
AP News
|
https://apnews.com/article/biden-netanyahu-3591fb5f82b22cf8e5d1060fccaef115
|
WASHINGTON (AP) — President Joe Biden issued a stark warning to Israeli Prime Minister Benjamin Netanyahu on Thursday that future U.S. support for Israel’s Gaza war depends on the swift implementation of new steps to protect civilians and aid workers.
Biden and Netanyahu ‘s roughly 30-minute call just days after Israeli airstrikes killed seven food aid workers in Gaza added a new layer of complication to the leaders’ increasingly strained relationship. Biden’s message marks a sharp change in his administration’s steadfast support for Israel’s war efforts, with the U.S. leader for the first time threatening to rethink his backing if Israel doesn’t change its tactics and allow much more humanitarian aid into Gaza.
The White House would not specify what could change about U.S. policy, but it could include altering military sales to Israel and America’s diplomatic backup on the world stage.
Netanyahu’s office said early Friday that his Security Cabinet has approved a series of “immediate steps” to increase the flow of humanitarian aid into Gaza, including the reopening of a key crossing that was destroyed in the Oct. 7 Hamas attack.
Administration officials had said before that announcement that the U.S. would assess whether the Israeli moves go far enough.
Biden “made clear the need for Israel to announce and implement a series of specific, concrete, and measurable steps to address civilian harm, humanitarian suffering, and the safety of aid workers,” the White House said in a statement following the leaders’ call. “He made clear that U.S. policy with respect to Gaza will be determined by our assessment of Israel’s immediate action on these steps.”
Biden also told Netanyahu that reaching an “immediate cease-fire” in exchange for the estimated 100 hostages that are still being held in Gaza was “essential” and urged Israel to reach such an accord “without delay,” according to the White House. Administration officials described the conversation as “direct” and “honest.”
Netanyahu’s office said the Erez crossing, which for years served as the only passenger terminal for people to move in and out of Gaza, would be temporarily reopened. It also said Israel would allow its Ashdod port to be used to process aid shipments bound for Gaza and allow increased Jordanian aid shipments through another land crossing. The announcement did not elaborate on quantities or types of items to be let in.
White House National Security Council spokesperson Adrienne Watson welcomed the moves by Netanyahu, adding that the plan “must now be fully and rapidly implemented.”
“As the President said today on the call, U.S. policy with respect to Gaza will be determined by our assessment of Israel’s immediate action on these and other steps, including steps to protect innocent civilians and the safety of aid workers,” Watson said.
The leaders’ conversation comes as the World Central Kitchen, founded by restauranteur José Andrés to provide immediate food relief to disaster-stricken areas, called for an independent investigation into the Israeli strikes that killed seven of the group’s staff members, including an American citizen. The White House has said the U.S. has no plans to conduct its own investigation.
Separately, Secretary of State Antony Blinken told reporters in Brussels that U.S. support would be curtailed if Israel doesn’t make significant adjustments to how it’s carrying out the war. “If we don’t see the changes that we need to see, there will be changes in our policy,” he said.
White House national security spokesman John Kirby echoed the call for “tangible” and “concrete” changes to be taken by the Israelis beyond reiterating long stated calls for allowing additional aid to get into Gaza.
“If there’s no changes to their policy in their approaches, then there’s going to have to be changes to ours,” Kirby said. “There are things that need to be done. There are too many civilians being killed.”
The demands for Israel to bring the conflict to a swift close were increasing across the political spectrum, with former President Donald Trump, the Republicans’ presumptive nominee to face Biden this fall, saying Thursday that Israel was “absolutely losing the PR war” and calling for a resolution to the bloodshed.
“Get it over with and let’s get back to peace and stop killing people. And that’s a very simple statement,” Trump told conservative radio host Hugh Hewitt. “They have to get it done. Get it over with and get it over with fast because we have to -- you have to get back to normalcy and peace.”
Biden and Netanyahu also discussed Iranian threats against Israel, Kirby said. Earlier this week, Iranian leaders vowed to hit back after an airstrike widely blamed on Israel destroyed Iran’s Consulate in Syria, killing 12 people, including two elite Iranian generals. Iran’s President Ebrahim Raisi said Wednesday the attack “will not remain without answer.”
Biden also renewed his concerns about Netanyahu’s plan to carry out an operation in the southern city of Rafah, where about 1.5 million displaced Palestinians are sheltering, as Israel looks to eliminate Hamas following the militant group’s deadly Oct. 7 attack. Vice President Kamala Harris, Blinken and national security adviser Jake Sullivan also joined the call.
Still, the Biden administration has proceeded apace with arms transfers and deliveries to Israel, many of which were approved years ago but had only been partially or not at all fulfilled. Just this week, on Monday, the Democratic administration’s “Daily List” of munitions transfers included the sale to Israel of more than 1,000 500-pound (225-kilograms) bombs and more than 1,000 1,000-pound (450-kilogram) bombs.
Officials said those transfers had been approved before the publication of the list on Monday — the day Israeli airstrikes hit the World Central Kitchen aid convoy — and that they fell below the threshold for new congressional notification. Also, they noted that the bombs are not for delivery to Israel until 2025.
Meanwhile, the Pentagon on Thursday said plans to build a temporary pier off the coast of Gaza to help boost the flow of aid into the territory continue to move forward. Maj. Gen. Pat Ryder, Pentagon press secretary, said the pier will be on line by the end of the month or early May. Biden announced plans to build the floating pier during his State of the Union address last month.
Ryder said Israel has agreed to provide security on the shore as aid is transferred and distributed, but details are still being worked out.
Israel has acknowledged responsibility for the strikes on the World Central Kitchen workers but said the convoy was not targeted and their deaths were not intentional. The country continues to investigate the circumstances surrounding the killings.
Andrés harshly criticized the Israeli military for the strike, and his organization has paused its work in Gaza.
“The Israeli government needs to stop this indiscriminate killing. It needs to stop restricting humanitarian aid, stop killing civilians and aid workers, and stop using food as a weapon,” he wrote on X. “No more innocent lives lost.”
The war in Gaza began when Hamas-led militants stormed into southern Israel, killing some 1,200 people, mostly civilians, and taking around 250 people hostage.
The Israeli military campaign in Gaza, experts say, is among the deadliest and most destructive in recent history. Within two months, researchers say, the offensive already has wreaked more destruction than the razing of Syria’s Aleppo between 2012 and 2016, Ukraine’s Mariupol or, proportionally, the Allied bombing of Germany in World War II. It has killed more civilians than the U.S.-led coalition did in its three-year campaign against the Islamic State group.
___
AP writers Matthew Lee in Brussels, Jill Colvin in New York and Lolita C. Baldor, Colleen Long and Chris Megerian contributed.
|
||
9034
|
dbpedia
|
3
| 81
|
https://www.theaudiodb.com/artist/128966-Telefon-Tel-Aviv%3Fview%3D4
|
en
|
Telefon Tel Aviv
|
https://www.theaudiodb.com/images/media/artist/thumb/bpino61651243740.jpg/medium
|
[
"https://www.theaudiodb.com/images/logo_new_12.png",
"https://www.theaudiodb.com/images/icons/social/facebook.png",
"https://www.theaudiodb.com/images/icons/social/instagram.png",
"https://www.theaudiodb.com/images/icons/social/twitter.png",
"https://www.theaudiodb.com/images/icons/social/deezer.png",
"https://www.theaudiodb.com/images/icons/social/soundcloud.png",
"https://www.theaudiodb.com/images/icons/social/spotify.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/media/artist/logo/spuxpq1495026640.png",
"https://www.theaudiodb.com/images/media/artist/thumb/bpino61651243740.jpg/medium",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/percent/percent_bar_60.png",
"https://www.theaudiodb.com/images/icons/refresh.png",
"https://www.theaudiodb.com/images/media/album/thumb/wbimzc1640010074.jpg/preview",
"https://www.theaudiodb.com/images/media/album/thumb/rrrpxu1404946303.jpg/preview",
"https://www.theaudiodb.com/images/media/album/thumb/admxye1640010046.jpg/preview",
"https://www.theaudiodb.com/images/icons/Male.png",
"https://www.theaudiodb.com/images/icons/flags/US.png",
"https://www.theaudiodb.com/images/icons/genre.png",
"https://www.theaudiodb.com/images/icons/style.png",
"https://www.theaudiodb.com/images/icons/born.png",
"https://www.theaudiodb.com/images/icons/calendar.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/heart.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/heart_off.png",
"https://www.theaudiodb.com/images/icons/youtube32.png",
"https://www.theaudiodb.com/images/icons/flags/flags-iso/shiny/32/GB.png",
"https://www.theaudiodb.com/images/icons/wiki.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/media/artist/fanart/lf0k0j1651243368.jpg/preview",
"https://www.theaudiodb.com/images/media/artist/fanart/lq1zm71651243764.jpg/preview",
"https://www.theaudiodb.com/images/media/artist/fanart/4oxw5u1651243772.jpg/preview",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/icons/upload_icon-transparent2.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/unlocked.png",
"https://www.theaudiodb.com/images/icons/social/facebook.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/instagram.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/twitter.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/deezer.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/soundcloud.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/spotify.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/fanarttv.png",
"https://www.theaudiodb.com/images/icons/social/musicbrainz.png",
"https://www.theaudiodb.com/images/icons/social/lastfm.png",
"https://www.theaudiodb.com/images/icons/social/bandcamp.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/bandcamp.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/social/discogs.png",
"https://www.theaudiodb.com/images/transparent.png",
"https://www.theaudiodb.com/images/icons/Logo/amazon_64.png",
"https://www.theaudiodb.com/images/facebook_icon.png",
"https://www.theaudiodb.com/images/twitter_icon.png",
"https://www.theaudiodb.com/images/discord_icon.png",
"https://www.theaudiodb.com/images/logo-tcdb.png",
"https://www.theaudiodb.com/images/logo-tsdb.png",
"https://www.theaudiodb.com/images/logo-tmdb.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Artist: Telefon Tel Aviv, MusicBrainzID: 453f1594-112e-4d3c-921a-8d14e9c97b2e, data, artwork, logo, fanart, clearart, charts, best songs, musicvideos
|
en
|
../images/ico/favicon.ico
| null |
Immolate Yourself (2009)
Map of What Is Effortless (2004)
|
||||
6840
|
dbpedia
|
2
| 7
|
https://www.artnews.com/art-news/artists/artist-residencies-outside-new-york-the-church-freddy-1234669901/
|
en
|
Artists Are Launching Cutting-Edge Residencies Outside New York City
|
[
"https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1",
"https://www.artnews.com/wp-content/uploads/2023/05/DH_2.jpeg?w=1200",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://www.artnews.com/wp-content/themes/vip/pmc-artnews-2019/assets/public/lazyload-fallback.gif",
"https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY"
] |
[] |
[] |
[
""
] | null |
[
"Maddie Klett"
] |
2023-05-30T16:12:14+00:00
|
More and more frequently, artists are opening residencies outside New York in search of community and space.
|
en
|
ARTnews.com
|
https://www.artnews.com/art-news/artists/artist-residencies-outside-new-york-the-church-freddy-1234669901/
|
In the early 2000s, artists Julie Mehretu and Paul Pfeiffer, working with architectural historian Lawrence Chua, acquired a 200-acre plot of farmland in the southern Catskills, about 100 miles north of New York City. They built a barn where Mehretu painted her first large-scale abstract paintings and Pfeiffer created Orpheus Descending (2001), a video installation that tracked the 10-week growth of chicks. “We had cool people coming up in a rudimentary way, we had harvest celebrations, and we shared the place with a larger community,” Mehretu told ARTnews. “It wasn’t until four or five years later when we put something more structural into place.”
In 2008, they formalized the project as a residency program, Denniston Hill (DH), which became a 501(c)(3) nonprofit. In Mehretu’s words, the artists “began thinking about what it means to have access to a space, with a particular history, as queer folks of color.” She also framed the project as one that could potentially contribute to the “history of the decolonial project” of land stewardship.
The program has slowly scaled up, and in 2021 hired its first full-time executive director, Megan Steinman, who said DH is “an organization that doesn’t rely on individual people, but on a collection of relationships that are formed by how people work together.”
DH is one of several artist-led residency programs in the Northeast that have been formed in the past decade. Seeking cheaper, bigger spaces, their founders have ventured beyond New York City, and have in the process formed these initiatives in an effort to stave off the isolation of traditional studio practices. Some of these programs have even evolved into institutions in their own right.
Among the more well-known is the Church, formed by the artist couple Eric Fischl and April Gornik in Sag Harbor, on Long Island. Their program includes residencies and an exhibition space, and was opened in 2021 in a deconsecrated 19th-century Methodist church they purchased in 2017.
Fischl and Gornik have lived in the town since 2004, and wanted to establish a hub for both engaging locals and bringing in outside artists to make new work. To achieve this, they appointed a board and staff early on.
“Our biggest problem in terms of financing is that people think that April and I are the ones funding it, and think it’s a vanity project,” Fischl said in an interview. “Part of what we’re doing, and what Sheri [Pasquarella, the Church’s director] is doing, is trying to dissuade people from thinking that. We’re going to help support the Church as long as it’s viable, but the public needs to want it to be there.”
Support has been strong in its inaugural year, and programming has flourished. “We started with Martha Graham Dance Company before we officially even opened because it fell into our laps,” Gornik recalled.
‘I Pick Them Up in My Vehicle’
Jeremy Dennis, who sits on the board of the Church, is the founder of his own residency program. An artist and a member of the Shinnecock Indian Nation, he began Ma’s House in 2021 in his family’s historic home, where he and his partner live and work alongside the residents. The program is open to Indigenous artists and artists of color, who can send their interest via the organization’s website.
“I pick them up in my vehicle, and then they are set to do whatever they want for two weeks,” Dennis said. There are few requirements—residents must only give a public talk—and any artists who participate get a small stipend, thanks to funds from Creatives Rebuild New York. “The only difficulty is that with Shinnecock rules, you can only have guests if you’re physically here,” Dennis explained. That means he must balance having visiting artists with his own residency schedule. He’s managed it well, having hosted 19 residents and overseeing regular programs, including a weekly beadwork workshop led by his mother.
Ma’s House is one example of a smaller and scrappier residency and exhibition space. Others of this scale have popped up as a result of artists seeking affordable studios outside the city.
Cheryl Donegan recalled the ease of showing her paintings at Freddy, a project run by painter Joshua Abelow in an old Methodist chapel in Monticello, New York. “It was a luxury,” she said. “I packed a rental car with everything I had made during the pandemic, didn’t worry about shipping costs, and we kicked around ideas.”
Abelow began Freddy in a Baltimore storefront and moved the project upstate when he bought the chapel in 2016. He paints in the nave, and the gallery space is a room connected to his bedroom. For Donegan’s show, he temporarily installed works over his bed and on the paint-chipped exterior.
Except for the occasional sale of artwork, Freddy’s is self-funded. “It’s not a good fit for a lot of artists because many want to have that monetary exchange be one of the primary goals,” he said in an interview. “It’s for folks who are going to be excited about the context that Freddy can provide.” That includes the change of pace. “When you come up here, it’s not like when you go to a gallery downtown, where you walk in, and you look at stuff, and then you leave. You come here and spend an afternoon, and you’re also in my house. Sometimes we all get a meal after.”
Walter’s, the contemporary wing of the Walter Elwood Museum, is the brainchild of Brent Birnbaum. After finding his dream studio space in an old carpet factory in Amsterdam, New York, Birnbaum was brought to a quirky local museum to sign the lease. He recalled thinking: “It is 18 rooms. All have different carpet. Everything is crooked and dusty. I was in heaven.”
Birnbaum proposed curating a contemporary program to the museum’s one staff member, and he was given 1,200 square feet free of charge. He built out a gallery space and a zine store. The exhibition program merges works by artists from the greater Albany region with those from the city. “Moving forward,” he said, “the museum is going to let artists pull objects from the collection and bring them into the gallery or otherwise respond to them.”
Cavernous, subterranean architecture is the draw of lower_cavity, a residency in western Massachusetts run by multimedia artist Anthony Discenza. In 2020, he began inviting friends to work in the 3,000-square-foot basement of an old papermill, where he rents the above-ground levels as commercial space. “I leave it up to the artists how they want to use the residency,” Discenza told ARTnews.
The artist Supermrin spent two months at lower_cavity making and installing a malleable, plant-based material she has developed from lawn clippings. Sourcing brush from local orchards, she sculpted the material into the basement’s arches and hallways, “I think the most useful thing was having an environment that is not your typical gallery space,” she said in an interview. “Because my work is so experimental and biological, it’s been useful to utilize a large space without too many conditions for sanitizing.”
Another former resident, Jak Ritger, shared that lower_cavity is unique in how difficult it was to maneuver. “It’s massive, so I was exhausted just walking back and forth while I was making my light installation. It’s also really dirty, all of my equipment got dusty.” Still, Ritger cited it as an exciting challenge. He made photos, installations, and research-based work in response to the building’s industrial history.
Ritger put lower_cavity on the radar of Joshua Citarella and the online collective Do Not Research. DNR, as it’s known for short, formed when artists began making works and blog posts in response to readings Citarella made public on Discord, from courses he taught at RISD and SVA. By last spring, DNR had over 1,600 users and was seeking a venue for its first de-virtualized exhibition. lower_cavity’s decentralized floor plan was appealing. “We were the first show to be in this sunken room that looks a little bit like a catacomb or a doomsday bunker,” Citarella said. “The space played into a lot of the radical internet politics vibes that were very present in the show.” The exhibition featured 46 artworks by 41 artists. Over 150 people came for the opening; many had never met in person.
Citarella says he couldn’t have imagined a better venue for DNR’s inaugural show, and that was largely due to it being artist-run. “Tony was like our guiding angel through this whole process of a rigorous install. It was a profound experience.”
A Residency’s Lifespan
Running a program is taxing for an artist to balance on top of their own practice. In an interview, Titus Kaphar, who cofounded NXTHVN, a residency and fellowship organization for artists of color in New Haven, Connecticut, stressed this: “I want artists who feel like this is something that they’re being called to do. And not to feel like it’s an obligation or a burden. I hope that this doesn’t become a necessary part of one’s existence, as artists of color in the world, that to be successful you have to create your own institution. Because that’s a lot of work.”
Some endeavors, like Denniston Hill, the Church, and NXTHVN, have staff and structures in place for posterity, while others may have shorter runs. “I don’t know what I would do with a staff, ” Discenza admitted. “At some point, I will not be in Western Massachusetts, and at some point, I will not have access to this kind of space. lower_cavity will have its natural end.”
Artists are perhaps best positioned to understand the needs of other artists, and experiment with new ways of meeting these needs, especially when challenges arise. An underlying motivation for all of these pursuits is that this work can be generative for the instigators, too. “I’m doing this because it feels consistent with what my work, in general, is about” Kaphar said. “It feels revelatory in my continued experience as an artist.”
|
|||||
6840
|
dbpedia
|
1
| 58
|
https://www.iloveny.com/thebeat/post/the-thomas-cole-national-historic-site-announces-the-exhibition-women-reframe-american-landscape/
|
en
|
The Thomas Cole National Historic Site Announces the Exhibition “Women Reframe American Landscape”
|
[
"https://www.iloveny.com/includes/public/assets/images/common/iloveny-logo.png",
"https://www.iloveny.com/includes/public/assets/images/svg/logo.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/miniheart.svg",
"https://assets.simpleviewinc.com/simpleview/image/upload/c_fill,h_49,q_75,w_300/v1/clients/newyorkstate/Thomas_Cole_National_Historic_Site_3e0422d3-207c-45ed-b11f-3adf31996182.jpg",
"https://www.iloveny.com/includes/public/assets/images/svg/logo_white.svg",
"https://www.iloveny.com/includes/public/assets/images/svg/tripadvisor.svg",
"https://www.iloveny.com/includes/public/assets/images/footer/heart_footer.png",
"https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_t.png",
"https://www.iloveny.com/includes/public/assets/images/footer/heart_footer_m.png",
"https://www.iloveny.com/includes/public/assets/images/svg/svlogo.svg"
] |
[] |
[] |
[
""
] | null |
[] |
2023-02-07T19:12:58.182000+00:00
|
The Show Reinserts 19 th -Century Artist Susie Barstow into the History of Landscape Painting and Presents Contemporary Artists Who Expand and Challenge “Land” And “Landscape” Today Catskill, NY – February 7, 2023 – The Thomas Cole National Historic Site announced today the upcoming exhibition Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices . It will open on May 6 and run through October 29, 2023. It will subsequently travel to the New Britain Museum of American Art in New Britain, CT, from November 16, 2023 to March 31, 2024.
|
en
|
https://www.iloveny.com/thebeat/post/the-thomas-cole-national-historic-site-announces-the-exhibition-women-reframe-american-landscape/
|
The Show Reinserts 19th-Century Artist Susie Barstow into the History of Landscape Painting and Presents Contemporary Artists Who Expand and Challenge “Land” And “Landscape” Today
Catskill, NY – February 7, 2023 – The Thomas Cole National Historic Site announced today the upcoming exhibition Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices. It will open on May 6 and run through October 29, 2023. It will subsequently travel to the New Britain Museum of American Art in New Britain, CT, from November 16, 2023 to March 31, 2024.
Illuminating the artistic contributions and perspectives of women, Women Reframe American Landscape: Susie Barstow & Her Circle/ Contemporary Practices is a two-part exhibition – and accompanying publication – that reinserts the accomplished 19th-century American artist Susie Barstow (1836-1923) into the history of the Hudson River School of landscape painting and presents work by contemporary artists who expand and challenge how we think about “land” and “landscape” today. The internationally acclaimed contemporary artists include: Teresita Fernández, Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk. Featuring artwork from across generations, the exhibition launches an expanded narrative around land and art that challenges and strongly recenters women in the canon of American landscape art.
The exhibition is curated by Dr. Nancy Siegel, Professor of Art History at Towson University; Kate Menconeri, Chief Curator and Director of Curatorial Affairs, Contemporary Art, and Fellowship at the Thomas Cole National Historic Site, and Amanda Malmstrom, Associate Curator at the Thomas Cole National Historic Site.
Featuring over 70 objects including never-before-seen works from Barstow’s archive and major new artworks and site-specific installations by contemporary artists, Susie Barstow & Her Circle and Contemporary Practices are described further below.
Susie Barstow & Her Circle
The 19th-century portion of the exhibition features the first major retrospective and deep dive into the work and life of Susie Barstow (1836-1923) and also includes such artists in her circle as Julie Hart Beers, Fidelia Bridges, Charlotte Buell Coman, Eliza Greatorex, Mary Josephine Walters, and Laura Woodward – accomplished 19th-century women artists who have previously been excluded from the history of the art movement that Thomas Cole founded, now known as the Hudson River School of landscape painting. This exhibition seeks to question the prevailing narrative that it was a male-only art movement and to rewrite the canon. Barstow was an extraordinarily talented, professional artist, and more than 100 of her paintings have been documented. In addition to hiking and painting the White Mountains, Catskill Mountains, and Adirondack Mountains, she embarked on multiple trips around the world. In her lifetime, she exhibited and sold her work alongside Asher B. Durand, Albert Bierstadt, Robert Duncanson, and Sanford Gifford, as well as the other women artists in this exhibition. It is long past due to bring forward this accomplished artist.
Contemporary Practices
In conversation with Susie Barstow’s historic work, Contemporary Practices presents works by contemporary artists who move beyond conventional landscape painting and open up an exploration of land through expansive perspectives and art practices. The featured artists are internationally acclaimed and include Teresita Fernández, Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk.
The contemporary artists expand and challenge how we think about “land” and “landscape” today. At the Thomas Cole Site, these works will be sited within and in response to the 19th-century artist’s home, studio, and grounds. The exhibition will include a new work by the Guerrilla Girls, a new outdoor sculpture by Jean Shin, an interactive Ecotopian Library by Mary Mattingly, works on canvas by Jaune Quick-to-See Smith and Kay WalkingStick, and special site-specific installations by Teresita Fernández, Marie Lorenz, Ebony G. Patterson, and Saya Woolfalk. It will also bring together Anna Plesset’s work about Sarah Cole (1805-1857), with the original paintings by the 19th-century artist who called this site home.
The project’s exploration of land takes place in the context of the home and studios of Thomas Cole, the artist best known today as the founder of the major art movement launched shortly after the formation of the United States, now known as the Hudson River School of landscape painting. Cole was an early environmentalist who advocated for balance between the built and natural worlds. He used his paintbrush and his pen to speak out against escalating development and deforestation that was clearing the way for railroads and expanding industries, such as the tanneries, iron foundries, and mills that were proliferating throughout the Catskill Mountains in the 1830s and 40s.
Coinciding with the opening of the exhibition, two renowned art book publishing houses – one in Germany and one in England – will release books related to the exhibition:
Hirmer Publishers in Munich will issue a fully illustrated 128-page book titled Women Reframe American Landscape. It will include original essays by the exhibition’s curators, texts and plates by the artists, including “Artist as Arsonist: Burning Down the Myth of the American Landscape” by Teresita Fernández, and a discussion with Candice Hopkins (Carcross/Tagish First Nation), Executive Director and Chief Curator at Forge Project, and Jolene Rickard (Tuscarora Nation (Turtle Clan), Hodinöhsö:ni Confederacy), Associate Professor in the Department of Art and Department of History of Art and Visual Studies at Cornell University, titled “Upturning the Map: Native Women and Representations of Land and Landscape”, and a timeline created by Sofia Thieu D’Amico, Class of 2023 Cole Fellow, and Heather Bruegl (Oneida/ Stockbridge-Munsee), a public historian, activist, and decolonial education consultant, with Amanda Malmstrom.
Lund Humphries in London will issue a companion monograph, Susie M. Barstow: Redefining the Hudson River School by co-curator Nancy Siegel. This is the first monographic study of the artist and one of the very few to focus exclusively on an American woman landscape painter of the 19th century. The publication will coincide with the one hundredth anniversary of Susie Barstow’s death.
Lund Humphries will also issue Fidelia Bridges: Nature into Art, the first comprehensive biography of this best-selling female artist in post-Civil War America. The book is by Katherine Manthorne, a member of the Thomas Cole National Historic Site National Council and Professor of Modern Art of the Americas at the Graduate Center of the City University of New York.
All three books will be available at the Thomas Cole National Historic Site and wherever books are sold.
“This exhibition represents the growing interest in, and need for, greater inclusivity and diverse voices when telling the story of the American landscape movement,” said
Dr. Nancy Siegel, co-curator of the exhibition and Professor of Art History at Towson University. “From the 19th century to the present moment, the works by these artists will visually dazzle and enthrall viewers while questioning our assumptions and relationships to the land itself.”
“It has been an incredible honor to be in conversation with these visionary artists, past and present,” said Kate Menconeri, co-curator of the exhibition and Chief Curator and Director of Curatorial Affairs, Contemporary Art, and Fellowship at the Thomas Cole National Historic Site. “This project is not meant as a survey but as an exhibition that illuminates specific, dynamic, and multifaceted perspectives. Together these artists complicate, challenge, and transform the way we think about art history, landscape, and our critical relationship with land today.”
“This exhibition was born from a passionate engagement with the ongoing and critical feminist work happening in our communities and within American Art,” said Amanda Malmstrom, co-curator of the exhibition and Associate Curator at the Thomas Cole National Historic Site. “Museums have extensively studied and presented landscapes pictured by men, and this exhibition recognizes that we lose out on a richer and more accurate history when we only see art from a narrow canon. An especially powerful project sited at the historic home of the artist often called the “father of the Hudson River School,” this exhibition celebrates the myriad generative ways that women have artistically interpreted land.”
The project is presented at the Thomas Cole Site as the cornerstone of the year-long “Women, Land, + Art” initiative across exhibitions, programs, collections and interpretation. More information is available here.
Women Reframe American Landscape: Susie Barstow & Her Circle / Contemporary Practices is made possible by the Warner Foundation.
The exhibition is supported by a grant from the National Endowment for the Arts. This project is supported by a grant awarded to the Thomas Cole National Historic Site by Empire State Development and I LOVE NY/New York State's Division of Tourism through the Regional Economic Development Council initiative.
Additional support is provided by Wyeth Foundation for American Art and Tavolozza Foundation.
The exhibition and publication are also supported by Jennifer Krieger and Eric Siegel, Maurice D. Hinchey Hudson River Valley National Heritage Area, Rick and Candace Beinecke, The Coby Foundation, Ltd., Marshall Field V., Allan E. Bulley, Jr., Greene County Legislature through the Greene County Cultural Fund, National Trust Insurance Services, LLC, Suncommon, The Bank of Greene County Charitable Foundation, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and the Kindred Spirits Society of the Thomas Cole National Historic Site.
Women Reframe American Landscape: Susie Barstow & Her Circle/Contemporary Practices
May 6–October 29, 2023: Thomas Cole National Historic Site, Catskill, NY
November 16, 2023–March 31, 2024: New Britain Museum of American Art, New Britain, CT
The Thomas Cole National Historic Site
The Thomas Cole National Historic Site is an international destination presenting the original home and studios of the artist and early environmentalist Thomas Cole (1801-1848). Cole founded the first major art movement of the United States, now known as the Hudson River School of landscape painting. Located on 6 acres in the Hudson Valley, the site includes the 1815 Main House; Cole’s 1839 Old Studio; the reconstructed 1846 New Studio building; and panoramic views of the Catskill Mountains. It is a National Historic Landmark and an affiliated area of the National Park System. The Thomas Cole Site’s activities include guided and self-guided tours, special exhibitions of both 19th-century and contemporary art, print publications, lectures, extensive online programs, school programs, the Cole Fellowship, free community events, and innovative public programs such as the Hudson River School Art Trail—a map and website that enable people to visit the places in nature that Cole painted—and the Hudson River Skywalk, a new scenic walkway connecting the Thomas Cole Site with Frederic Church’s Olana over the Hudson River. The goal of all programs at the Thomas Cole Site is to enable visitors to find meaning and inspiration in Thomas Cole’s life and work. The themes that Cole explored in his art and writings—such as landscape preservation and our conception of nature as a restorative power—are both historic and timely, providing the opportunity to connect to audiences with insights that are highly relevant to their own lives.
Visitor Information
The hours of the Thomas Cole National Historic Site vary by season. For details see: www.thomascole.org/visit. The grounds are open every day for free from dawn to dusk. Keep in touch on Facebook, Instagram, and Twitter at @thomascolesite.
Contact:
Jennifer Greim, jgreim@thomascole.org
Director of Advancement & External Affairs
|
||||||
6840
|
dbpedia
|
0
| 14
|
https://garystockbridge617.getarchive.net/amp/topics/walters%2Bart%2Bmuseum%3Fpage%3D12
|
en
|
Walters Art Museum Page 12 Image: PICRYL
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Download Image of Walters Art Museum Page 12 - Free for commercial use, no attribution required.
|
en
|
/favicon.png
|
https://garystockbridge617.getarchive.net/topics/walters+art+museum?page=12
| ||||||
6840
|
dbpedia
|
3
| 16
|
https://dia.org/collection/forest-scene-catskills-43030
|
en
|
Detroit Institute of Arts Museum
|
[
"https://dia.org/themes/dia/logo.svg",
"https://dia.widen.net/content/3zelqvo7n7/webp/77.93-d1.webp?quality=75",
"https://dia.widen.net/content/3zelqvo7n7/webp/77.93-d1.webp?w=395&quality=1 }}",
"https://dia.widen.net/content/cxh6r4v3da/webp/42.59-d1.webp?w=450&quality=50 1x, https://dia.widen.net/content/cxh6r4v3da/webp/42.59-d1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/qixo2cugmj/webp/39.6-S1.webp?w=450&quality=50 1x, https://dia.widen.net/content/qixo2cugmj/webp/39.6-S1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/c71mywrgbg/webp/26.307.A.webp?w=450&quality=50 1x, https://dia.widen.net/content/c71mywrgbg/webp/26.307.A.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/hlx2ol6wa9/webp/26.389.A-d2.webp?w=450&quality=50 1x, https://dia.widen.net/content/hlx2ol6wa9/webp/26.389.A-d2.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/licxfjufdn/webp/65.300.webp?w=450&quality=50 1x, https://dia.widen.net/content/licxfjufdn/webp/65.300.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/hhssegzjos/webp/26.8-d1.webp?w=450&quality=50 1x, https://dia.widen.net/content/hhssegzjos/webp/26.8-d1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/4fl7dtfgsg/webp/1993.6.2-CM1.webp?w=450&quality=50 1x, https://dia.widen.net/content/4fl7dtfgsg/webp/1993.6.2-CM1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/tyux6ajtlw/webp/1993.6.3-CM1.webp?w=450&quality=50 1x, https://dia.widen.net/content/tyux6ajtlw/webp/1993.6.3-CM1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/3jidye1irc/webp/21.107.1-CM1.webp?w=450&quality=50 1x, https://dia.widen.net/content/3jidye1irc/webp/21.107.1-CM1.webp?w=900&quality=50 2x",
"https://dia.widen.net/content/3zelqvo7n7/webp/77.93-d1.webp?quality=100",
"https://dia.widen.net/content/3zelqvo7n7/webp/77.93-d1.webp?w=500&quality=75",
"https://dia.widen.net/content/3zelqvo7n7/webp/77.93-d1.webp?w=140&quality=75",
"https://dia.org/sites/default/files/inline-images/logo.png",
"https://dia.org/sites/default/files/2022-06/facebook.svg",
"https://dia.org/sites/default/files/2022-06/twitter.svg",
"https://dia.org/sites/default/files/2022-06/instagram.svg",
"https://dia.org/sites/default/files/2022-06/youtube.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Forest Scene in the Catskills
|
en
|
/themes/dia/favicon.ico
|
https://dia.org/collection/forest-scene-catskills-43030
|
About the Artwork
Title Forest Scene in the Catskills
Artwork Date between 1855 and 1860
Artist Asher Brown Durand
Life Dates 1796 - 1886
Nationality Please note: Definitions for nationality may vary significantly, depending on chronology and world events. Some definitions include: Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation. American
Culture Please note: Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group. Unknown
Medium Oil on canvas
Dimensions Unframed: 15 × 24 inches (38.1 × 61 cm) Framed: 22 5/8 × 37 1/2 × 2 1/4 inches (57.5 × 95.3 × 5.7 cm)
Classification Paintings
Department American Art before 1950
Credit Gift of Mr. and Mrs. Harold O. Love
Accession Number This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection. Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings. For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups. 77.93
|
|||||
6840
|
dbpedia
|
0
| 43
|
https://www.rollins.edu/rma/collection/american-art/
|
en
|
American Art to 1950
|
[
"https://www.rollins.edu/rma/collection/american-art/images/albright-ivan-follow-me",
"https://www.rollins.edu/rma/collection/american-art/images/alexander-francis-portrait-of-mary-ann-duff-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/alexander-john-white-portrait-of-annie-russell.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/arms-john-amiens-the-cathedral-notre-dame",
"https://www.rollins.edu/rma/collection/american-art/images/arms-taylor-john-view-santa-maria-major",
"https://www.rollins.edu/rma/collection/alfond/images/artists-ae/barry-df-cabinet-card-chief-rain-in-the-face.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/bellows-wesley-george-artists-evening",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-weston-lily-pond.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-log-driver",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-geese-drifting-down",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-springing-teal",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-shoveler-drake",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-november-moon",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-pair-of-pintails",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-wild-geese",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-canvasbacks",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-flying-widgeon",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-redheads-no-2",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-sheldrake.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-evening",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-flying-widgeon-2",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-the-visitor",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-canada-goose.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/benson-frank-flying-pintail-2016-49",
"https://www.rollins.edu/rma/collection/american-art/images/benton-hart-thomas-aaron",
"https://www.rollins.edu/rma/collection/american-art/images/berman-eugene-italienne-symphony",
"https://www.rollins.edu/rma/collection/american-art/images/bierstadt-albert-shoshone-indians-rocky-mountains-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/blakelock-ralph-albert-rising-moon.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/blum-frederick-robert-flora-de-stephano",
"https://www.rollins.edu/rma/collection/alfond/images/artists-ae/bolotowsky-ilya-abstraction-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/botkin-henry-solo-trumpet-player",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-village-school-kolomna-volga-region",
"https://www.rollins.edu/rma/exhibitions/2014/images/bourke-white-margaret-mother-stalin.jpg",
"https://www.rollins.edu/rma/exhibitions/2015/images/bourke-white-margaret-ballerina.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-the-steppe-ukraine",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-a-priest",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-at-the-circus",
"https://www.rollins.edu/rma/exhibitions/2014/images/bourke-white-margaret-children-detail.jpg",
"https://www.rollins.edu/rma/collection/photography/images/bourke-white-margaret-at-the-lathe-hammer-and-sickle-factory-moscow.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-soviet-serenade",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-kremlin-moscow",
"https://www.rollins.edu/rma/collection/american-art/images/bourke-white-for-the-iron-mine-foundations-magnet-mountain",
"https://www.rollins.edu/rma/exhibitions/2014/images/bourke-white-borscht.jpg",
"https://www.rollins.edu/rma/collection/photography/images/brady-william-abraham-lincoln-rollins-college-cornell-fine-arts-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/brownscombe-jennie-choir-boys",
"https://www.rollins.edu/rma/collection/alfond/images/artists-ae/buehman-henry-cabinet-card-tattooed-woman.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/buttersworth-james-black-squall-at-gibraltar",
"https://www.rollins.edu/rma/collection/american-art/images/carlsen-emil-still-life-with-copper-pot.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-woman-standing-with-child-on-her-back",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-sunday-hat",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-leopard-hunter",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-tortilleras",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-procession-at-chalma",
"https://www.rollins.edu/rma/collection/american-art/images/charlot-jean-the-great-builders-ii",
"https://www.rollins.edu/rma/collection/american-art/images/chase-william-merritt-autumn-fruit.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/chase-william-merritt-young-woman-with-red-flowers.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/chase-merritt-william-spanish-peasant",
"https://www.rollins.edu/rma/collection/american-art/images/chase-merritt-william-keying-up-the-court-jester",
"https://www.rollins.edu/rma/collection/american-art/images/cole-thomas-catskill-mountain-house-the-four-elements.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/cole-timothy-a-frosty-morning",
"https://www.rollins.edu/rma/collection/american-art/images/cornoyer-paul-madison-square-park-new-york.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/crane-roy-american-untitled-lookout",
"https://www.rollins.edu/rma/collection/american-art/images/crane-roy-untitled-infatuation",
"https://www.rollins.edu/rma/collection/american-art/images/crawford-ralston-havana-harbor-3",
"https://www.rollins.edu/rma/collection/american-art/curtis-edward-sheriff-shield-oglala-rollins-college-cornell-fine-arts-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/daly-norman-bull-and-cow.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/daly-norman-study-for-bull-and-cow.jpg",
"https://www.rollins.edu/rma/exhibitions/2016/images/davies-arthur-bowen-uprising-detail.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-untitled-landscape",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-entreat",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-tree-and-figure",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-kneeling-nude",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-bowie-figures-of-earth.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-christmas-day",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-landscape",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-to-virginia-with-christmas-greeting",
"https://www.rollins.edu/rma/collection/american-art/images/davies-arthur-bowen-dweller-on-the-threshold-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/day-f-holland-zilleta-rollins-college-cornell-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/decker-joseph-strawberries-and-upright-box.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/elliot-charles-loring-portrait-of-the-reverend-robert-furman-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/elliott-charles-loring-portrait-of-melinda-wilkins-furman-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/enneking-john-joseph-eventide-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/fenderich-charles-portrait-joseph-marion-hernandez",
"https://www.rollins.edu/rma/collection/american-art/images/glackens-william-james-our-american-snobs-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/grosz-george-city-lights-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/hart-james-mcdougal-summer-landscape-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/hart-william-m-landscape-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/havell-robert-red-breasted-mergansers",
"https://www.rollins.edu/rma/collection/american-art/images/havell-robert-violet-green-cormorant",
"https://www.rollins.edu/rma/collection/american-art/images/hassam-childe-country-road-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/hassam-childe-ironbound-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/heade-martin-golden-marquerties.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/healy-george-peter-alexander-portrait-of-the-reverend-wyllys-warner-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/henri-robert-mountain-ash-dark-woods-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/henri-robert-rosaleen.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/herzog-hermann-the-st-johns-river-entering-the-atlantic-ocean.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/herzog-hermann-sunset-with-elk-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-dads-coming-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-hon-abraham-lincoln-born-in-kentucky.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-homeward-bound-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-on-the-bluff-at-long-branch-at-the-bathing-hour-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-snap-the-whip-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/homer-winslow-the-nooning-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/hubard-william-james-portrait-of-commander-commodore-david-porter.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/huntington-daniel-untitled-i",
"https://www.rollins.edu/rma/collection/american-art/images/huntington-daniel-untitled-ii",
"https://www.rollins.edu/rma/collection/american-art/images/huntington-hyatt-anna-hard-road.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/inness-george-the-approaching-storm.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/inness-george-overlook-mountain-in-the-catskills.jpg",
"https://www.rollins.edu/rma/collection/american-art/jackson-william-henry-quandary-peak.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/jarvis-john-wesley-portrait-of-john-townsend-mccoun.jpg",
"https://www.rollins.edu/rma/collection/photography/images/käsebier-gertrude-the-red-man-rollins-college-cornell-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/kensett-john-frederick-the-langdale-pike-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/kent-rockwell-goodbye-day",
"https://www.rollins.edu/rma/collection/american-art/images/knox-susan-ricker-the-conspirators.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/kuhn-walt-portrait-of-a-lady.jpg",
"https://www.rollins.edu/rma/collection/alfond/images/artists-ko/lawrence-jacob-harlem-scene-the-butcher-shop-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lawson-ernest-bend-in-the-river-thumb.jpg",
"https://www.rollins.edu/rma/collection/alfond/images/artists-ko/lenny-sawyers-cabinet-card-man-and-wife.jpg",
"https://www.rollins.edu/rma/collection/american-art/lewis-martin-break-in-thunderstorm.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lewis-martin-chance-meeting.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lewis-martin-circus-night-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lewis-martin-derricks-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lewis-martin-hank-and-min",
"https://www.rollins.edu/rma/collection/american-art/images/lewis-martin-untitled-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lie-jonas-dusk-on-lower-broadway-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/lozowick-lewis-hudson-bridge.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/luks-george-bejamin-portrait-of-miss-ruth-breslin.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/marsh-reginald-young-woman-reading-on-the-subway-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/mcentee-jervis-afternoon-train.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/mcentee-jervis-landscape-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/mignot-louis-remy-marsh-landscape.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/moran-thomas-moonlight-seascape.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/moran-thomas-tula-mexico.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/morris-george-precision-bombing",
"https://www.rollins.edu/rma/collection/american-art/images/moses-grandma-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/muybridge-plate-animal-locomotion.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/nevelson-louise-two-women.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/norton-william-edward-summer-afternoon.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/noyes-george-l-santa-maria-del-fiore.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/park-richard-bust-of-a-woman",
"https://www.rollins.edu/rma/collection/american-art/images/peale-james-portrait-of-david-lapsley.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/peale-james-portrait-of-josephine-jane-lapsley.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/peale-rembrandt-portrait-of-three-children.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/pennell-joseph-st-pauls-wharf",
"https://www.rollins.edu/rma/collection/american-art/images/pennel-joseph-porch-gate-st-mary-the-virgin",
"https://www.rollins.edu/rma/collection/american-art/images/peto-john-figs-and-oranges.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/picknell-william-lamb-view-from-a-meadow.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/powers-hiram-faith.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/sargent-john-singer-francis-brooks-chadwick.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/scott-julian-american-untitled-six-figures-in-the-woods",
"https://www.rollins.edu/rma/collection/american-art/images/reiss-winold-swedish-girl-in-native-costume.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/richards-william-trost-new-jersey-seascape-atlantic-city.jpg",
"https://www.rollins.edu/rma/collection/alfond/images/artists-pt/rinehart-frank-albert-oversized-cabinet-card.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/ryder-albert-pinkham-landscape-with-sheep.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/silva-francis-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-connoisseurs-of-prints",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-memory",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-mother",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-copyist-metropolitan-museum",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-shine-washington-square",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-sculpture-washington-square",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-easter-eve-washington-square",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-anschutzs-talk-on-anatomy",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-nude-with-bowl-of-fruit",
"https://www.rollins.edu/rma/collection/american-art/images/sloan-john-the-womens-page",
"https://www.rollins.edu/rma/collection/alfond/images/artists-pt/slobodkina-esphry-desert-moon.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/smillie-jame-view-bay-naples",
"https://www.rollins.edu/rma/collection/american-art/images/smith-pember-henry-spring-morning-in-venice",
"https://www.rollins.edu/rma/collection/american-art/images/sonntag-louis-william-dream-of-italy-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/smith-mary-russell-the-catastophe.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/spencer-robert-march-morning.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/steichen-edward-portrait-of-clarence-white-rollins-college-cornell-fine-arts-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/stieglitz-alfred-a-snapshot-paris-rollins-college-cornell-fine-arts-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/strand-paul-telephone-poles-rollins-college-cornell-museum.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/stuart-gilbert-portrait-of-sir-william-conyngham-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/sully-thomas-portrait-of-lieutenant-william-henry-korn-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/tait-arthur-doe-and-fawn.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/taylor-henry-fitch-an-old-pasture.jpg",
"https://www.rollins.edu/rma/collection/european-art/images/tiffany-furnaces-favrile-vase.jpg",
"https://www.rollins.edu/rma/collection/american-art/tiffany-studios-christ-the-redeemer.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/twatchman-john-henry-evening-sunset.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/twachtman-john-henry-winter-in-cincinnati.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/unknown-american-artist-annunciation-to-the-virgin.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/unknown-american-artist-the-holy-family.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/unknown-american-artist-the-holy-trinity.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/uknown-american-artist-saint-roch.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/unknown-american-artist-st-joseph-and-child.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/unknown-american-artist-st-joseph-in-wooden-niche.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/vedder-elihu-superest-invictus-amor-love-ever-present.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/walters-josephine-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/walters-mary-josephine-two-boats.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/west-benjamin-franklin-mrs-thomas-keyes-and-her-daughter.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/whistler-james-chelsea.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/whistler-james-little-putney-bridge",
"https://www.rollins.edu/rma/collection/american-art/images/whittredge-thomas-worthington-camp-meeting.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/wiggins-guy-carleton-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/wiggins-guy-carleton-saint-paul-de-vence-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/wiggins-guy-carleton-vermont-sugar-maples-thumb.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/williams-william-the-william-denning-family.jpg",
"https://www.rollins.edu/rma/collection/american-art/images/wuermer-carl-summer-landscape.jpg",
"https://www.rollins.edu/rma/images/ctas/primary/PrimaryCTA_visit1.jpg",
"https://www.rollins.edu/rma/images/ctas/primary/PrimaryCTA_Events4.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
//www.rollins.edu/images/favicon.ico
|
https://www.rollins.edu/rma/collection/american-art/
|
Ivan Le Lorraine Albright occupies a unique place in the history of American art. From an artistic family, he at first resisted becoming an artist before realizing that he had both talent for and interest in painting. His paintings, which are usually classified as “magic realist,” frequently depict weighty and macabre themes, including death, aging, and the inevitable decline and decay of the body, which he regarded as a prison for the soul. He worked meticulously and over a period of months or even years, building elaborate sets to stage his haunting compositions. His titles—long and poetic—usually emerged after the paintings were finished, once he truly understood what they were about.
This lithograph was commissioned by Associated American Artists, a gallery which catered to a middle-class audience largely by selling prints made by famous painters. It is based on a similar painting entitled I Walk To and Fro through Civilization and I Talk as I Walk (Follow Me, the Monk) (1926-7, Art Institute of Chicago). It depicts Brother Peter Haberlin, an octogenarian Franciscan friar who was regarded as the last link between the old California missionaries and the modern friars. In the print—as in the painting—the influence of Old Masters, in particular El Greco and Francisco de Zurbarán, is evident in the monk’s flowing, voluminous robes and the flickering quality of the light. Though light streams in through an open window, the monk’s body also glows with an inner light, emphasizing his simple holiness.
Francis Alexander was twenty-five when he painted Mary Ann Duff. At the peak of her career, Duff was considered as fine a tragic actress as the earlier renowned English actress Sarah Siddons (immortalized as the "Tragic Muse" by Sir Joshua Reynolds in 1783). Though born in England and first appearing on stage as a dancer in Ireland, Duff was thirty and living in New York when this painting was completed. Largely forgotten now, it has been argued that Duff should rightly be considered the first First Lady of the American Stage, having received her theatrical training solely in America. This painting predates Alexander's travels in Europe, where he would study the great monuments of art and refine his technique.
Though produced early in his career in an almost naïf style, Alexander’s likeness captures the vivacious nature of the actress as she looks out of the canvas with sparkling eyes and rosy cheeks. Great care has been taken in rendering the texture and patterning of the drapery that covers her chair and falls over and around her arm. Mary Ann Duff would have been conscious of her rising status on the American stage. A portrait such as this might have been commissioned in a self-conscious attempt at mimicking the habits of respectable American society. Remembering that actors in the nineteenth century were not accorded the high social status in America that they enjoy today, Miss Duff would have been eager to present herself as a reputable lady of society. Her apparel raises more questions than it answers. She appears to be wearing a scholar's cap, and the high, starched, lace collar is not in keeping with contemporaneous fashions. It is possible that she has chosen to be portrayed in the costume of a favorite character. Unfortunately, there is little in the way of records for this important personage of American theatrical history.
This portrait of Annie Russell, after whom Rollins’ theater is named, dates from early in both her career and in that of the painter, John White Alexander. Alexander, an orphan from Pittsburgh, got his start as an illustrator for Harper’s and other magazines in New York. Like many artists of his generation, Alexander studied in Europe, spending time in Munich and Polling, in Bavaria, as well as Venice. While in Venice he met fellow American James Whistler, who was there to create etchings of the city’s famous architecture and canals. Whistler, one of the foremost proponents of the idea of “art for art’s sake,” would have a profound influence on Alexander, who returned to New York in 1881 and almost immediately established himself as one of the city’s premier portrait painters.
Soon after he executed this work Alexander became well known for his purely aesthetic depictions of women, and this painting is one of his last commissioned portraits. Russell, who is depicted with her back mostly turned to the viewer, is an excellent early example of this tendency in his work. Her long, lean form is contrasted with the smooth roundedness of the vase, and the pink blooms of the flowers seem to reach around her, drawing her in as another of the aesthetic objects in the room. Her costume—from a light fairy comedy by W.S. Gilbert—enhances the effect by taking her out of everyday time and space and into a realm of purest fantasy. Alexander painted at least one other portrait of Russell, and she owned this one throughout her long life.
Born in Washington, D.C., John Taylor Arms studied architecture at Princeton University, working as an architect in New York City before serving in World War I. After the war he gave up architecture in favor of etching, which he had been practicing as a hobby—his wife, Dorothy, gave him his first etching kit as a Christmas gift. A deeply religious man, Arms was particularly attracted to the Gothic ecclesiastical architecture of Europe, embarking on frequent trips with Dorothy to visit churches and cathedrals in France, Spain, Italy, and England. He typically spent several hours to several days making drawings of each site, which he then translated to etching plates at his home studio.
This print is typical of Arms’s early work, in which he sought to create picturesque views of the vernacular architecture and daily life that had grown up around the churches and cathedrals he depicted. He enjoyed the contrast in uses, scales, and eras that such a framing produced, feeling that it highlighted the enduring power and grandeur of the Gothic buildings. Here the cathedral in Amiens, in Northwest France—built from 1220-1270—towers over the surrounding city, its grandeur highlighted by the almost wispy faintness of the lines Arms uses to depict it. Two peasants are engrossed in conversation in the foreground, suggesting that this exquisite structure is part of everyday life, a fact which Arms found immensely appealing.
This etching, which depicts the Church of Santa Maria Major in Ronda, Spain, indicates the evolution of Arms’s work after 1927-28. Abandoning the picturesque views incorporating local scenery that had characterized his early work, Arms began instead to depict churches and cathedrals as standalone structures. He believed this allowed the buildings to better stand on their own, reflecting their full majesty and importance. The church, officially dedicated by Ferdinand and Isabella after the culmination of the Reconquista, incorporates Islamic elements, particularly in the minaret tower (leftover from the local mosque) which Arms highlights in this print. The vertical format of the piece emphasizes the tower’s sharp verticality, while the use of negative space effectively evokes the white stucco walls of the relatively unassuming exterior. The sharp, crisp linearity of the scene also evokes the sunny environs of Andalusia, the Southern Spanish province in which Ronda and its church are located.
D.F. Barry is best known for his portraits of Native American chiefs, warriors, scouts, and women. Often called the “shadow catcher,” Barry captured iconic images of life in the American West. To contemporary viewers from the eastern United States and Europe, his images portrayed a new world they had never seen, allowing his cabinet card photographs to sell in large numbers and quickly. Chief Rain in the Face, the leader of the Lakota Tribe, fought alongside Chief Sitting Bull to defeat Colonel George Custer at the Battle of Little Big Horn. Chief Rain in the Face is photographed in his eagle-feather headdress holding a stone-head club and peace pipe. D.F. Barry’s photos have become iconic symbols of important figures and of what life was like in the Western Frontier. Through his images he has been able to give a glimpse into past moments in time.
The American painter, printmaker, and illustrator George Bellows is best known for his depictions of semi-legal boxing matches and New York City street scenes. Though slightly younger than most of its members, these subjects—as well as his commitment to leftist politics—made him a natural fit with the Ashcan School, the group of painters loosely associated with artist and teacher Robert Henri who depicted everyday life in American cities during the first decades of the twentieth century. Bellows—who died at the age of only 42 after a ruptured appendix—was an innovator in fine art lithography. He worked with master lithographer Bolton Brown to develop a wide range of custom lithographic crayons, which allowed him to achieve much more nuanced atmospheric effects than had previously been achieved in lithography.
This print depicts an evening at Petipas, a popular French restaurant at which the Ashcan artists frequently gathered. The white-bearded standing figure is Irish portrait painter John Butler Yeats (father of poet William Butler Yeats). He speaks with mustachioed Robert Henri, while the balding Bellows leans in behind them. The seated, stylishly dressed woman is Bellows’s wife Emma. She gazes confidently out at the viewer, drawing them into the warm, collegial scene. It is striking that Bellows included her front and center in this view of his intellectual and artistic world, indicating her centrality to his creative process.
Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century. Despite this antiestablishment affiliation—or perhaps because of it—Benson remained a beloved teacher at the School of the Museum of Fine Arts until his retirement in 1913.
Though Benson is best remembered as an artist of sporting scenes, he was also an accomplished and widely respected landscape painter. This painting was made at Wooster Farm, his family’s property on North Haven Island, the same location where he created many of his most iconic sporting pictures. It depicts a pond Benson had dug for his wife, Ellen, who planted it with waterlilies. In 1921, shortly before completing this work, Benson—who was in search of a new way to depict outdoor scenes—had begun experimenting with watercolors, becoming quite prolific in the medium. His experimentation also impacted his oil paintings, as he developed a looser and more aqueous application of paint. That influence is evident here in the free, even smeary quality of the paint. His adoption of the waterlily, one of the most quintessentially Impressionist subjects, shows his continuing engagement with the style, which he had adopted seriously after joining the Ten American Painters in 1898.
Born in Salem, Massachusetts, Frank Weston Benson spent the majority of his life in and around Boston. He studied at the School of the Museum of Fine Arts and—along with his classmate Edmund Tarbell—was a long-tenured and popular teacher and administrator at the school. Along with fellow painters including Tarbell, John Henry Twachtman, and Childe Hassam, Benson was a founding member of The Ten, a group of American painters—many of whom were influenced by French Impressionism—who rebelled against the conservatism of the American art establishment of the late nineteenth century.
Benson was best known as a painter, but he was also an accomplished and prolific etcher, picking up the medium only in 1912, long after he had made his name as a painter. This image, depicts a working man moving a recently harvested log downriver for processing. Benson frequently traveled along the coast and in the interior of Maine, where he likely made the drawing that inspired this image. Its spare use of line and correspondingly large amounts of negative space reflect the influence of James Whistler, while the workaday subject and fresh, almost sketchy immediacy are reminiscent of Impressionism.
Benson was an avid sportsman who was first inspired to paint at the age of sixteen after shooting a snipe and a rail in the salt marshes near his Essex County, Massachusetts home. Early in his career, he used the prize money from an exhibition to finance the purchase—along with two of his brothers-in-law—of a small hunting cabin in Eastham, on Cape Cod. Later, he would frequently travel to the island of North Haven in Maine’s Penobscot Bay, where he found the inspiration for most of his outdoor scenes. It was at his farmstead there that he took up etching in 1912—he had experimented with it in his student days but left it behind as he established his career as a painter. This inaugurated a remarkable second career as perhaps America’s foremost producer of bird prints, helping to establish it as a standalone genre.
Though he had been inspired by the ornithological illustrations of John James Audubon early in his life—aspiring to a career as an illustrator as a teenager—Benson’s etchings are very different from Audubon’s highly detailed and rigidly posed illustrations. Befitting his interest in Impressionism, Benson prefers to represent his birds in motion, especially in flight. Rather than aiming for anatomical precision, he emphasizes the evanescent qualities of light and air, as well as the light liveliness of the birds themselves. As in Log Driver, Benson demonstrates in this and his other wildlife prints a mastery of negative space, using expanses of white to represent the calm placidity of the New England water, which stands in marked contrast to the bold dynamism of the geese.
Thomas Hart Benton, along with John Steuart Curry and Grant Wood, was a foremost artist of the Regionalist movement in the United States. Championing a figurative style indebted to earlier twentieth century modernism and the public art of the Mexican muralist movement, Benton was a loud, even combative, voice for the depiction of distinctively American subjects in a distinctively American style. A longtime resident of New York, he famously left it in 1935 to return to his native Missouri, where he had been commissioned to paint A Social History of Missouri, a series of murals in the state capitol in Jefferson City. Benton taught at the Kansas City Art Institute from 1935 to 1941, when he was fired for criticizing the closely affiliated Nelson-Atkins Art Museum.
This print is based on a painting of the same name (1941, Pennsylvania Academy of Fine Arts) which was made as a classroom demonstration during his last year as a teacher. It depicts Ben Nichols, an eighty-two-year-old former slave who Benton has transformed into the Biblical figure Aaron, older brother of Moses. Aaron’s lined face and downcast eyes transmit a solemn dignity, while the busy mustache and crinkle of the mouth convey the sitter’s individual personality. This print was issued in edition of 250 by the Associated American Artists, a company which sold fine art prints by noted American artists for the low price of five dollars, thereby greatly expanding the audiences of artists like Benton, who was an early champion of the company.
Born in Russia, Eugene Berman fled the Russian Revolution with his brother Leonid (also a painter), emigrating to Paris in 1918. There he formed the core of the Neo-Romantic movement along with fellow Russian Pavel Tchelitchev and Frenchman Christian Bérard. Berman gained particular renown as a set designer for ballets and operas, where he was known for taking liberties with historical settings in favor of his preferred aesthetic, which emphasized the stark grandeur and mysterious light of ancient ruins, as well as a preoccupation with the macabre. He moved to New York in 1935, becoming one of the most important designers for the opera and theater there, including doing work for the New Ballets Russes under Colonel Wassily de Basil and the Metropolitan Opera under Rudolf Bing.
This watercolor and ink drawing is a conceptual sketch for a proposed staging of Felix Mendelssohn’s Symphony No. 4 in A major, commonly called the Italian, which was to be produced by de Basil and choreographed by the dancer and choreographer David Lichine. The ballet was never staged, but the drawing remains as a fine example of Berman’s creative process, demonstrating how he would have translated the symphony. The blotchy smears of the watercolor help to unify the grand proscenium of the stage with the set design, which includes a tilting, ruined flag and moldering ruins. The symphony itself is considerably more lively than Berman’s rendering suggests, indicating the influence his Neo-Romantic sensibilities had on his set designs.
Albert Bierstadt, who is best known for his monumental depictions of American scenery, was, like many artists of his generation, trained abroad. When he arrived in Düsseldorf, Germany in 1853 to study at the famed Kunstakademie there, his fellow Americans Worthington Whittredge and Emanuel Leutze were so unimpressed with his talent that they doubted he would make it as an artist. Undeterred, Bierstadt disappeared for a summer of sketching along the Rhine River and in the Hartz Mountains. Upon his return to Düsseldorf, Bierstadt’s improvement was apparently so marked that Whittredge, Leutze, and several other artists were compelled to send a letter to a newspaper in Bierstadt’s hometown of New Bedford, MA, swearing that the works the painter was sending back were his own, and not those of Andreas Achenbach or another German artist.
After a few years in Düsseldorf and traveling throughout Europe, in particular the Alps, Bierstadt returned to the United States with a plan. Securing a position on the surveying expedition commanded by Colonel Frederick W. Lander, Bierstadt turned the fine eye for detail he had honed in Germany on the scenery of Nebraska and Wyoming. He sent a voluminous correspondence detailing his adventures to eager readers back East, ensuring that there would be a strong market for his work upon his return. Though he is best known for his highly finished large-scale compositions, this and similar sketches reveal his sensitivity to effects of light and atmosphere, and his ability to capture people and animals, as well as forbidding mountain peaks. Bierstadt used sketches like these, photographs, and American Indian artifacts and other materials he gathered on this and subsequent expeditions—all of which he kept and displayed in his studio in the famed Tenth Street Studio Building—as part of a very successful marketing strategy that resulted in his becoming the wealthiest artist in the United States by the late 1860s.
The son of a successful physician, Ralph Albert Blakelock was originally supposed to follow his father into medicine. After a few semesters of medical college, however, he felt the stronger pull of an artistic career and dropped out. Largely self-taught, he quickly mastered the basics of Hudson River School landscape. From the beginning, however, he felt a lack of affinity with the sunny, optimistic style, preferring to paint in a more personal, romantic manner. Early in his career this placed him outside the artistic mainstream, and he struggled to support his large family on the sales of his paintings. This struggle was exacerbated by his battles with mental health, as he increasingly began to suffer from both depression and delusions of grandeur, eventually landing him in a psychiatric hospital in 1899; he spent most of the final twenty years of his life institutionalized.
Though his mental health struggles—as well as his many paintings of dark and mysterious moonlit scenes—have often led to Blakelock’s being termed an outsider or visionary, he actually was closely integrated into the New York art scene of his day and kept current with artistic trends both in the United States and abroad. His painting was heavily influenced by the French Barbizon school, from which he gained an appreciation for romantic subjectivity and the loose handling of paint. Rising Moon is an example of his most well-known style of painting, in which entirely imagined landscapes—rather than real places—are presided over by large, luminous moons. The painting reverses the usual landscape elements, with inky dark foreground trees and other elements giving way to more luminous water and sky in the background. As Blakelock languished in mental hospitals, often struggling to gain access to basic painting supplies, appreciation for his unique vision grew in the wider world. A painting similar to this one sold for $20,000 in 1916, a record for a living American painter at the time.
Growing up in Cincinnati, Robert Frederick Blum was heavily influenced by the work of Spanish painter Mariano Fortuny, which he saw in local collections. He adopted the older painter’s use of a rapid, sketchy line to quickly delineate the forms of his sitters’ faces, relying on variations in line weight and tone to suggest contours. In his late teens Blum moved to Philadelphia to study at the Pennsylvania Academy of Fine Arts before moving on to New York, where he established himself as a professional illustrator and fine artist. Always a slow worker in oils, Blum preferred the sketchy immediacy of drawing and etching, a medium he picked up after meeting James Whistler—the acknowledged master of the medium—in Venice.
From Whistler he also picked up another technique, the “Japanese method” of drawing. Taken from Whistler’s study of Japanese ukiyo-e woodblock prints, it involved starting from the point he expected to be the exact center of focus in the work and proceeding outward, a process which in this case results in the model’s prominent nose and striking eyes dominating the composition. Little is known about De Stephano, who appears to have been Blum’s lifelong friend and sometime companion. Though Blum never married, she claimed to be his widow after his premature death in 1903. She served as his model for a number of aesthetic portraits, as well as the murals Moods to Music and The Vintage Festival, originally executed for New York’s Mendelssohn Hall and now at the Brooklyn Museum.
Ilya Bolotowsky stood at the forefront of abstraction in the United States during a time when many in the American art world were reluctant to embrace non-objective art. After immigrating to the United States as a teenager Bolotowsky studied at the conservative National Academy of Design and worked as a textile designer. After a trip to study art in Europe he happened to encounter the work of Piet Mondrian and Joan Miró, and his early work attempted to blend Mondrian’s geometric style with Miró’s biomorphic abstractions. In 1936 he became a co-founder and president of American Abstract Artists, a group of painters and sculptors who were frustrated by their exclusion from the major modern art venues in New York, including the Museum of Modern art and the Whitney Museum of American Art.
In 1945, after serving in the military during World War II, Bolotowsky refocused his artistic attention on Mondrian, who had spent the last years of his life in New York, where he had been hugely influential on the art world there. This work reflects the influence of the gridded, non-spatial canvases of Mondrian’s Neoplasticism, though in this piece Bolotowsky retains non-primary colors and diagonal lines, elements which Mondrian had abandoned later in his career. This work was made while Bolotowsky was serving as a replacement for Josef Albers, who was on sabbatical from Black Mountain College. For the remaining decades of his life Bolotowsky would be a well-regarded art teacher at a series of colleges and a strenuous advocate for geometric abstraction.
Henry Botkin was born in Boston, Massachusetts, attending various art schools there from 1913 to 1917. In 1917 he moved to New York, where he studied at the Art Students’ League. While studying he lived with his famous cousins, the composer George Gershwin and his lyricist brother Ira. In 1926 Botkin moved to Paris, where he continued to study art while also acting as Gershwin’s art agent, sending the composer (an enthusiastic collector) photos and prices of paintings he might like to acquire. Gershwin liked the works of the Fauves and other slightly earlier Modernist painters, commenting in letters to his cousin on their use of color and form. When Botkin returned to New York in 1933 he taught Gershwin to paint and draw, and also accompanied him on the 1934 trip to Folly Island, South Carolina which would result in Porgy and Bess, perhaps Gershwin’s most famous work. As Gershwin was writing his jazz opera Botkin was at work on a series of paintings depicting similar people and themes.
This painting, executed in the middle of Botkin’s long life, shows both the artist’s engagement with the figurative painting traditions of the first half of the twentieth century and the influence of his musician cousins. The titular trumpeter, rendered in a series of Cubist-derived flat planes, sits contemplatively on a broad low stool, while the musical notes of his profession float in the flattened space around him. The generally cool, bluish cast of the figure stands in stark contrast to the reds and oranges of the surrounding space, suggesting both the intellectual and sensuous aspects of musical performance.
Margaret Bourke-White first travelled to the Soviet Union in the summer of 1930, the first of three consecutive summers when she documented the first Soviet five-year plan for American audiences, the first Western photographer to do so. Bourke-White made her fame in the 1920s as an industrial photographer, pioneering a technique to capture the stark beauty of the Otis Steel Company in Cleveland, among other icons of American heavy industry. That resulted in her being hired by Henry Luce to work at Fortune magazine, which sent her on the assignment to the USSR.
During her first trip, Bourke-White focused on the heavy machinery in mines and factories, but found herself increasingly interested in the people she met on her journey, finding herself charmed by their solid resilience. This photo depicts students in a small village school outside the city of Kolomna, southeast of Moscow, reflecting that interest in the Russian people. Bourke-White has arranged her thirteen sitters in a rough pyramid that emphasizes their solidity, as do the rough-hewn but sturdy pews and walls of their surroundings. Bourke-White’s increasing empathy for the Soviet people prompted a similar identification with working-class people in the United States, and her Popular Front sympathies earned her the attention of J. Edgard Hoover and the House Un-American Activities Committee.
In her 1931 book Eyes on Russia and subsequent articles for the New York Times Magazine, Bourke-White wrote of her experiences traveling on overwhelmed Soviet trains to visit factories and other industrial sites, often subsisting on little more than cold canned beans she had brought with her from Germany. She also wrote a great deal about Soviet women, on whose labor the five-year plan relied just as much as that of men. Attempting to reconcile this with American notions of feminine comportment, she commented that the Russian woman, “In her longing for fashionable clothes, for adornment, for attention…is wholly feminine.,” while, at the same time “…working, as the men work, to advance the great industrial program of which she feels she is part. She is never conscious of a conflict between her career and her personal life.”
Margaret Bourke-White’s modern aesthetic and attention to the concerns of the machine age inspired Henry Luce to hire her as a photographer at Fortune magazine. While on assignment for the magazine, she made three trips to the USSR. In 1930, she visited eastern Ukraine and southern Russia
and photographed the construction of the Dnieper Hydroelectric Station (DniproHES), the Stalingrad Tractor Factory, and the Novorossiysk Cement Plant, and in 1931 she traveled to Chelyabinsk Oblast to cover workers building the largest steel mill in the world, the Magnitogorsk Iron and Steel Works (MMK). In the summer of 1932, she returned to the USSR, traveling from the Caucasus to Baku and back
to Ukraine, where she found herself increasingly interested in the strength and character of the Soviet people. Soviet Serenade (1931) captures a street performer smiling as he plays his accordion and looks down upon the viewer.
Mathew Brady was already the most famous photographer in America by 1860, when his studio took its first image of Abraham Lincoln, commemorating the Republican presidential candidate’s February 27, 1860 speech at Cooper Union in New York City. Lincoln credited that image—reproduced on the cover of the printed speech as well as disseminated widely as a carte de visite—with helping him earn the nomination and eventually the presidency. It also began a long-running collaboration between America’s foremost photographer and its most famous politician, with Lincoln posing for photographs at Brady’s studio throughout the Civil War. Lincoln’s images on both the five-dollar bill and penny are based on such photographs, as are most of the familiar images of the sixteenth president.
The carte de visite format was revolutionary, for it allowed an unlimited number of inexpensive paper prints to be made from one glass-plate negative, permitting the photograph to be distributed widely, in contrast to the daguerreotype and ambrotype, earlier formats in which only a single image was made. Americans of all walks of life amassed large collections of images of famous people, making this the first time in history when the faces of the country’s leaders were widely known. This image was captured by Thomas Le Mere, a photographer who worked at Brady’s Washington, D.C. studio. This captures an important aspect of Brady’s work, which is the fact that he rarely took or developed the images himself, though he usually posed particularly important clients. This was standard practice at the time, in contrast with the twentieth century, when photographers came to be seen as individual artists who controlled the entire process. During the war Brady’s photographers spread out to follow the Union Army on its campaigns, bringing Americans some of the first photographic images of war and inaugurating a tradition of photojournalism that survives to this day.
Born near Honesdale, in rural northeastern Pennsylvania, Jennie Brownscombe belonged to the first generation of American women artists for whom professional training was routine, if still often segregated from men. After a stint as a schoolteacher in her late teens she moved to New York, where she enrolled at The Cooper Union, graduating in 1871. She then studied at the National Academy of Design, becoming a founding member of the Art Students League in 1875. She first attracted notice in 1876, exhibiting her work in the Women’s Pavilion at the Centennial Exposition in Philadelphia. Throughout the remainder of her long life she maintained a successful career as a portraitist and painter of genre scenes, both historical and contemporary. Many of her works were reproduced as prints or etchings by companies targeting the middle-class market, while others served as illustrations for magazines and calendars. She became especially well-known for her depictions of the domestic life of George and Martha Washington, painting a number of scenes of social events at Mount Vernon.
This painting, which was published as an etching by New Jersey printmaker James S. King, exemplifies Brownscombe’s mature style, which combines her academic training with the naturalism favored by painters on both sides of the Atlantic, including the American Winslow Homer and the Frenchman Jean-François Millet. The picture depicts a scene from Brownscombe’s time, as indicated by the nineteenth century hairstyles (particularly the men’s facial hair), but draws upon Brownscombe interest in and careful study of Rococo and other historical architecture in France, Germany, and Italy. The depiction of the choir boys—sweetly orderly but also individualized—shows Brownscombe’s attention to popular sentimental taste.
James Edward Buttersworth was born in London, where he was trained by his father Thomas, himself a successful painter of maritime scenes. Buttersworth emigrated to the United States sometime between by 1847, after a successful early career in England. Settling in Lower Manhattan, followed by Hoboken, New Jersey, Buttersworth quickly established himself as one of the foremost marine painters in the country. The 1850s were a particularly auspicious time for American marine painting, due to recent advances in maritime technology. The clipper ships—invented for the tea trade with China—became even more important after the discovery of gold in California, setting off a race to build the fastest possible ship. Similarly, American success in sailing races set off a mania for yachting. The owners of these vessels and the public alike clamored for accurate depictions of them, and Buttersworth tapped into this burgeoning market.
Buttersworth became one of the country’s foremost painters of daring maritime scenes, known for his ability to accurately represent details of rigging and other aspects of shipboard architecture—a skill which was highly prized by collectors—combined with the drama and adventure of the high seas. In this scene, which takes place just off the Rock of Gibraltar at the entrance to the Mediterranean Sea. In the background, British ships at anchor are tossed by the storm, which all but blots out the light of day. The foreground ship, identifiable as a clipper by its raked-back elegance and prominent bow, desperately attempts to furl sail in the face of the onslaught. Capturing the moment of highest drama, Buttersworth punctuates the danger with jagged stripes of lightning that jut out into the inky blackness.
Born in Denmark, Emil Carlsen immigrated to Chicago in 1872, where he trained under a fellow Danish painter named Lauritz Holst. When Holst returned to Denmark, Carlsen inherited his studio, also becoming an instructor at the Chicago Academy of Design. In 1875 Carlsen traveled to Paris, where he became interested in the soft, delicate realism of the French still-life painter Jean-Baptiste-Siméon Chardin. He moved to New York in 1879. Struggling to make ends meet as a painter, he lived a semi-peripatetic existence that saw him move to Philadelphia; back to Europe; to San Francisco; and finally back to New York by 1891. In 1896, at the age of 50, he married, moving with his wife into his studio on 59th street. After this, both his personal and professional lives became much more settled, and he embarked on a career as a teacher at the National Academy of Design, Art Students League, and Pennsylvania Academy of Fine Arts.
During this time Carlsen also became friends with John Henry Twachtman, Julian Alden Weir, and other painters affiliated with the Tonalist movement in landscape painting. Twachtman, Weir, and the Tonalists inaugurated a quieter and more intimate mode of landscape painting, in contrast to the bombast that characterized the Hudson River School of earlier generations. Carlsen’s interest in quietly intimate still-life painting meshed well with the Tonalist aesthetic. This painting is a prime example of this style, the popularity of which finally ensured Carlsen’s financial stability. He represents the copper urn and humble onions with a graceful sensitivity, emphasizing the effects of light and texture over strict illusionism.
Over his long and productive career Jean Charlot had a profound influence on printmaking and mural painting in both Mexico and the United States. He was born in Paris and in 1921 moved to Mexico City after the death of his father—his mother was of mixed French and Aztec ancestry, a fact in which the family took great pride. He arrived at an auspicious time in Mexican history, as the period of unrest and social change surrounding the Mexican Revolution was beginning to wind down. When he arrived, he joined a ferment of artistic and cultural experimentation—known as Mexican modernism—that was answering the urgent question of what it meant to be Mexican. Charlot, who brought with him printmaking knowledge and equipment, as well as examples of modernist prints from France, is often credited with helping to inspire a revolution in printmaking in Mexico.
Charlot joined SOPTE (Sindicato de los Obreros Técnicos, Pintores y Excultores), an artist’s union, and signed on to their 1922 “Declaration of Social, Political, and Aesthetic Principles,” written by David Alfaro Siqueiros, whose large fresco murals are icons of Mexican Modernism. In the Declaration, the artists condemned easel painting as overly aristocratic and intellectual, preferring instead the more direct and accessible mediums of murals and printmaking. Charlot also joined the movement of artists and intellectuals known as Stridentism. Influced by Italian Futurism, Spanish Ultraism, and Dada, Stridentism celebrated modern technology and artistic forms, rejecting the staid classicism of traditional European art. Unlike the Futurists, however, the Stridentists rejected war and fascism, maintaining their socialist political commitments.
Charlot moved to New York in 1929, spending time there with George C. Miller, the best fine art lithographer in the United States, to whom he was introduced by José Clemente Orozco, another of his colleagues in the Mexican modernist movement. In 1949 he went to Honolulu to do a mural commission for the University of Hawai’i. He so enjoyed his time there that he stayed until his death in 1979, executing many of his prints by correspondence with Lynton R. Kistler, a master lithographer based in Los Angeles.
Charlot left Mexico City for New York in 1929, making this print shortly after he arrived. It demonstrates both his approach to Mexican subjects and his continued formal and technical experimentation. Like many of his prints, it is based on careful observation of his subjects, in this case Mayan hunters in the Yucatán. Charlot wrote in his diary of watching the men leave to hunt at night, wearing lanterns on their heads to attract the leopards. His enthusiasm for Mexican culture led him to learn Nahuatl, the Aztec language, and he sought always to approach his subjects from a position of respect. The figure of the man, his back bent under the weight of the leopard, is represented with the solid monumentality he and other artists brought to Mexican modernism. The hunter’s smooth, rounded forms contrast sharply with the angular machinery of the gun. The darkness of the night sky, represented with swirling forms as well as sharper lines, shows Charlot’s interest in expanding the possibilities of lithography, a medium that traditionally was known for its clean lines and commercial uses.
William Merritt Chase was renowned during his time for his depictions of the American landscape as well as for his depictions of the late nineteenth and early twentieth century’s confident and stylish “new women.” He was perhaps most famous, however, for his still-life paintings, in particular his depictions of freshly caught cod and other North American fish. Shimmering with iridescent scales and still glistening from the sea, these fish were the perfect vehicles for Chase to showcase his masterful brushwork and rapid application of paint—he often did them as demonstration pieces in front of adoring audiences.
The fish pictures date from Chase’s mature period around the turn of the twentieth century. This one, on the other hand, dates from just before the pivotal year of 1872, when he began a six-year stint studying in Munich. After a couple years in New York, where he studied at the National Academy of Design, Chase was living in St. Louis, where he established a local reputation for his still lifes. This painting shows his early mastery of the American still-life tradition. Set in a nondescript domestic interior, the picture includes a variety of succulent fruits, as well as a glass of wine—likely Madeira, a fortified dessert wine popular in the nineteenth century—and a piece of steak or other meat, a curious addition for a painting entitled Autumn Fruit. The American still-life as formulated by Raphaelle Peale, Severin Roesen, and other earlier painters prioritized pyramidal compositions and dark backgrounds, lending the produce an air of powerful beauty. Insect-chewed leaves and spots such as those on the peaches both heighten the naturalism of the depiction and hint at the food’s perishability, reminding the viewer of the fleeting nature of material abundance. Chase has given the fruit—particularly the grapes—a highly reflective shine, a practice designed to show his mastery of optical effects. Though Chase would develop a looser style during and after his stay in Munich, this painting shows his strong grasp of the textural and optical qualities of oil paint.
William Merritt Chase was one of the most influential artists of the turn of the twentieth century, both as a painter—he helped introduce the artistic styles of Munich and Paris to the United States—and as a teacher and patron of the arts. From his return to the United States from Munich in 1878 Chase worked as a teacher, first at the Art Students’ League and later at the Pennsylvania Academy of Fine Arts, as well as in a variety of summer schools, including the famed Shinnecock School on Long Island. A key aspect of his teaching was the live demonstration, in which he executed a landscape, still-life, or portrait study while his students watched, commenting all the while on his process. These performances were showcases for his bravura painting style, which emphasized loose, painterly brush strokes and largely eschewed preparatory drawing. When he was finished with the painting he would usually give it away, either bequeathing it to the school, giving it to the student who had served as model, or raffling it off.
This painting depicts a “Miss Covert,” and is the result of one of Chase’s in-class demonstrations. The young woman’s loose dress, fashionable high collar and straightforward gaze—which unflinchingly returns the viewer’s glance—marks her as a New Woman, a frequent Chase subject. New Women rejected many of the buttoned-up gender roles of the nineteenth century, taking on traditionally masculine roles, including that of artist. Chase was an early champion of female art students, remarking that genius knew no sex. At the same time, the flowers she holds serve to soften and feminize her, as well as emphasize the pink rosiness of her complexion.
This print is a reproduction of Chase’s early masterpiece Keying Up-the Court Jester (1875, Pennsylvania Academy of Fine Arts), which he painted in 1875 while he was studying in Munich. Depicting a local artists’ model as a merry clown, the painting was intended to help Chase achieve notice back home in the United States. At this it was very successful, receiving rave reviews at the 1876 Philadelphia Centennial Exposition, as well as several other important exhibitions, including the National Academy of Design. It was a showcase for Chase’s bold new style, which merged the “brown sauce” of the Munich painters with his study of the Old Masters and his bravura brushwork.
He executed this etching soon after his return to the United States, as part of a scheme to disseminate low-cost reproductions of his work to inspire further interest. Chase executed a handful of other prints, including Spanish Peasant (1978.25.1), but in general did not embrace etching with the enthusiasm of many of his contemporaries. This Is likely due in large part to his disinterest in drawing—he was overall a poor draftsman—and preference for creating his paintings directly on the canvas. This preference for freewheeling composition led to his embrace of pastels, of which he was a foremost proponent around the turn of the twentieth century. He instead turned to his outlandish and performative persona for the bulk of his marketing, soon becoming one of the most celebrated and beloved painters of his day.
Thomas Cole was born in the industrial northwest of England, where his early experiences included both artistic and vocational training, specifically as an apprentice textile engraver. He immigrated to the United States with his family at the age of seventeen, eventually finding work as an engraver. He taught himself to paint, launching a career as a landscape artist over his father’s strenuous objections. His early exposure to European–particularly English–artistic traditions situated him perfectly to take advantage of his new home, and he began making sketching trips to the Catskills and other mountainous areas of the American Northeast. He capitalized on early successes to become the exemplar of a new, American school of landscape painting, quickly becoming known for both allegorical sequences such as The Voyage of Life (National Gallery of Art, Washington) and scenes of specific locations such as The Oxbow (Metropolitan Museum of Art, New York).
This painting exists in the latter mode, depicting the famed Catskill Mountain House, a hotel and tourist attraction that brought painters as well as vacationers from throughout the country. Cole, who from 1827 was a resident of the nearby village of Catskill, had a complex relationship with the Mountain House. He wrote fondly of visiting the place, and often used it as a stop in his rambling throughout the surrounding hills. At the same time, he despaired of the changes wrought by the hotel and other economic development, in particular the tanneries, mills, and other industries that rapidly overtook the area in the 1830s and 1840s. This painting is a register of his rage and despair at these changes, as the titular house is dwarfed by the awesome power of a thunderous storm. In a sense, it shows Cole attempting to reverse the ravages of time, returning his beloved Catskills to their state when he first encountered them, undoing decades of environmental degradation.
Born in England, Timothy Cole immigrated to the United States when he was five, apprenticing in the shop of a company that made wood-engraved diagrams of machinery. Wood engraving, which was invented by Englishman Thomas Bewick at the end of the eighteenth century, involves using an engraver’s tool—called a burin—to make an image on the tough end grain of a piece of wood. The result, which combines the durability of woodcut with the precision of copperplate engraving, was the preferred method for reproductive printmaking in the nineteenth century, especially because the wood blocks could be made at type height for easy incorporation into magazine, newspaper, and book printing.
Cole eventually found his way to The Century Magazine, which sent him to Europe to make engravings of masterpieces of European painting, thereby bringing them to readers who would otherwise have no opportunity to go themselves. A Frosty Morning is one such work, based on an 1813 painting of the same title by Joseoph Mallord William Turner, now at the Tate, and demonstrates Cole’s mastery of the medium. His innovative working method involved coating his wood plate with photographic emulsion so that he could print an image of the painting he was copying directly on the surface. Then, he sat in the gallery and worked, looking at the painting in a mirror, to match the effect of the photographic reversal. Using incredibly fine burins, he was able to achieve stunning effects of tone, carefully removing tiny amounts of wood to create the white spaces in the composition. The process was so time-consuming that Cole was able to produce only one or two such images a year.
Born in St. Louis, Paul Cornoyer studied at the St. Louis School of Art from the age of 17 while he saved up to study in Paris. In 1889, when he was 25, he was finally able to embark on a multiyear trip to the French capital, enrolling at the Academie Julian and studying in the studios of French masters including Jules Lefebrve, Louis Blanc, and Benjamin Constant. Returning to St. Louis, he quickly moved to the top of the local art scene, winning prizes and commissions. One of his paintings, which he entered in an exhibition in Philadelphia, came to the attention of William Merritt Chase, himself briefly a St. Louis resident early in his career. Chase urged Cornoyer to move to New York, which he quickly did. There he established himself amid the group of artists—including John Henry Twachtman, J. Alden Weir, Thomas Wilmer Dewing, and Childe Hassam—who are variously known as Tonalists and American Impressionists.
Like many artists of his generation, Cornoyer spent his summers on the shore, in his case in Gloucester, Massachusetts. It was his depictions of New York, however, which brought him the most notice. Like the Impressionists, whose work he had encountered during his time in Paris, Cornoyer was interested in the effects of light and atmosphere in a single place during different times of day, weather conditions, and seasons. His New York scenes thus mostly focus on a few places, most notably parks. He made rainy scenes something of a specialty, becoming especially praised for his depiction of wet pavement. In this painting, an excellent example of his depictions of rainy New York, the sky seems to lighten as the rain peters out, while the shimmering reflections of pedestrians and carriages on the ground indicate that it has until recently been raining quite heavily.
hese two comic strips are the work of Roy Crane, one of the pioneers of the adventure strip genre that dominated American newspapers in the middle of the twentieth century. The strips, which date from ten years apart, are both daily entries from his first successful strip, Wash Tubbs. The story of the eponymous hero—short for Washington Tubbs II—Wash Tubbs saw its protagonist ranging all over the world visiting exotic places both real and fictional. Wherever he went, Wash—the worried-looking figure with curly hair in the first panel of Untitled (Lookout)—sought both his fortune and the love of a local beauty, though he rarely succeeded in either pursuit.
In addition to formulating the conventions of the adventure strip genre, Crane was an innovator in his mixture of cartoonish characters and realistic backgrounds. He used Craftint doubletone illustration board, a chemically treated type of paper that allowed him to achieve a wide range of gray tones and fine details, to evoke whatever exotic land Wash was visiting that week. The strips—in particular Untitled (Infatuation), in which Wash is visiting Mexico—are also artifacts of their time, reproducing the class and ethnic assumptions of Crane’s American audience.
Ralston Crawford first came to prominence in the 1930s for his sharply linear depictions of American industry, an interest that aligned him with the Precisionist movement. His depictions of grain elevators, factories, and modern highways were informed by his study of French modernism, in particular Cubism, lending his work a flat, partially abstract aspect. Unlike many of his colleagues, Crawford refused to avoid service during World War II, and was assigned to the Visual Presentation Unit, Weather, of the Army Air Force, where he used his modernist style to streamline the presentation of weather data to the high command in Washington, D.C. After the war he was the only artist present at the nuclear tests at Bikini Atoll. His experience of military life and the atom bomb deeply unsettled him, inaugurating a less optimistic and more abstract style that he maintained until the end of his life.
This painting dates from this later period, when Crawford traveled frequently, supplementing his income as an artist with temporary teaching positions and illustration work for magazines such as Life and Fortune. One of a series depicting Havana Harbor, the flat planes of color and slashing lines evoke a feeling, rather than depicting a specific place. Crawford’s late career work demonstrates his increasing interest in the interplay and tension between order, chaos, and destruction, a dynamic which is enhanced by the spare palette and sharp angles of this painting. Crawford was a steadily successful artist from the 1940s onward, but he attracted little critical attention, largely because his Cubist-derived geometry fell increasingly out of fashion as the Surrealist-inflect Abstract Expressionist movement came to dominate American art.
Born in rural Wisconsin to an impoverished itinerant preacher, Edward S. Curtis eventually ended up in Seattle, Washington, where he became the co-proprietor of a portrait photography business. He soon discovered a passion and aptitude for the medium. A chance encounter led him to be invited on the 1899 expedition to Alaska sponsored by railroad magnate Edward H. Harriman alongside a number of prominent anthropologists and scientists. Though he had previously made portraits of local Native Americans, it was on the Harriman Expedition that Curtis discovered his interest in ethnographic photography, eventually leading to his decision to create his forty-volume opus The American Indian. Consisting of over 2200 photogravure images and over 5000 pages of text, the project took decades to complete, even with the financial and publicity support of such luminaries as President Theodore Roosevelt and J.P. Morgan.
This image was taken in 1907, early in the project’s history, and appears in the third volume. It shows Curtis’s signature blending of Pictorialist art photography and supposedly scientific ethnographic imagery. Shield, like many of Curtis’s sitters, is shown wearing a traditional costume and hairstyle. Curtis, like many of his contemporaries, was a believer in the “vanishing race,” the notion that American Indians represented an ancient, static culture that was destined to disappear from the world. By representing his sitters in traditional costumes, Curtis helped to advance this hypothesis while also playing into contemporary expectations of what Native people looked like. At the same time, however, Curtis uses the hazy, soft focus that was characteristic of fine art photography at the time. Shield’s downturned, careworn face indicates that Curtis also sought to represent his sitters as individuals. Both of these factors undermine the photo’s ethnographic intent. His photos’ beauty also caused a revival in regard for Curtis’s work starting around 1970, when his work became increasingly appreciated for its poetic beauty.
The Rollins Museum of Art is home to a particularly fine collection of paintings, drawings, and prints by the American artist Arthur Bowen Davies. Davies was instrumental to the development of modern art in the United States, serving as the primary organizer of the International Exhibition of Modern Art, commonly known as the Armory Show. Through it, Americans got their first taste of European modern art, including works by Pablo Picasso, Marcel Duchamp, and other important members of the avant-garde. Davies, who mostly lived a secretive, buttoned-up life, was hailed for his almost instinctual understanding of modernism, even as he ruffled feathers with his near-dictatorial control of the exhibition.
The gift of Virginia Keep Clark, herself an artist and illustrator as well as a friend of Davies, the collection represents the full breadth of his artistic production, which included landscape as well as figurative painting. Davies specialized in depictions of nudes in landscapes, often the same figure repeated in slight variations of the same position. Davies referred to these multiple figures as examples of “continuous composition.” They were inspired by his study of the photographic motion studies of Eadweard Muybridge, the paintings of Pierre Puvis de Chavannes, and ancient—particularly Greek—art. This lithograph is one such example, showing the same muscular figure at two different points in the process of lifting himself up by his arms.
Davies was originally influenced by the luminous Romanticism of the American painter Albert Pinkham Ryder and the French Symbolists. Like Ryder, he often failed to clearly name or date his canvases, and he frequently returned to them, reworking them over the course of years or even decades. This untitled and undated painting is one such example and could date any time from the 1890s to 1920s. Davies is known to have taken at least one trip to the Rocky Mountains and was also fond of mountains he saw in Italy during his frequent travels there. Regardless of the source material, this small, luminous painting is a prime example of Davies’s landscape style. Thinly painted bands of blue denote foothills, mountain, and sky, with bits of the wood panel on which it is painted peeking through, giving the whole scene a cool, otherworldly quality. The effect is one of a personal—and deeply spiritual—experience of the landscape, rather than an attempt to render objective reality.
Arthur B. Davies was known in his own time as a rigid and secretive man who rarely allowed visitors to his studio, a practice which he claimed allowed him to focus on his work. Only a few of his closest friends knew the truth, which was the secrecy was designed to deflect attention from his scandalous personal life. Davies was officially married to Virginia Meriweather Davies, one of the first female physicians in New York State, but also maintained a second household in the city with Edna Potter, a ballet dancer who had been one of his models. Upon his death his wife destroyed much of his correspondence and other archives, likely due to a combination of anger and a desire to protect her family’s reputation. This lack of an archive has sometimes frustrated scholars’ ability to date his work and otherwise construct a chronology of his life.
For many years Davies’s art was overshadowed by this scandal and his contributions to the Armory Show, but in recent years scholars have begun to explore his engagement with contemporary cultural practices. In particular, Davies was interested in body postures, which he encountered through a blend of theosophy and other new spiritual movements, modern dance, ancient Greek art, and his own practice of breathing exercises designed to control his angina. Of particular interest was what he called the “lift of inhalation,” which he believed gave art its spiritual power. This mezzotint is a prime example of a common theme in his art, which is the depiction of nude women at the moment of maximum expansion of the chest. The model’s athletic arms and active posture help to achieve Davies’s desired feeling of mythic and timeless spirituality.
In addition to his interest in physical and body cultures, Davies’s art demonstrated a longtime interest in dreams and the unconscious. The turn of the twentieth century saw an increase of interest in dreams, prompted by a widespread belief in the link between dreams and creativity, as well as explorations of the occult and psychic phenomena in the first decade of the century. The interest in dreams was accelerated after 1909, when Sigmund Freud and Carl Jung toured the United States, touching off a mania for psychoanalysis. This lithograph depicts a nude woman sitting on the back of a donkey, which joins a pair of goats in languidly browsing at some nearby shrubs. Birds flit about, landing on and near the woman, whose tilted head and elongated neck suggest an extended reverie. The soft, sketchy use of line and shading furthers the unreal effect, suggesting a return to a mythological, Arcadian dreamworld.
This striking print is the work of influential Boston photographer F. Holland Day. Day, the son of wealthy parents who encouraged him to follow his interests, was a leading American participant in the aesthetic movement in the late nineteenth century. Influenced by William Morris, whose Kelmscott Press was a model for Day’s firm Copeland & Day, which published lavish editions of works by Oscar Wilde, Aubrey Beardsley, and other aesthetes, Day spent his formative years in Boston developing his artistic tastes and interests in a variety of subjects, including bookmaking, theatre, and photography. Eventually, he settled on photography as his preferred medium, and became an early champion of photography as a fine art, as opposed to merely a technical and scientific tool.
Though his fame today has been eclipsed by that of fellow photography advocate Alfred Stieglitz, who was born just six months before him in 1864, Day was renowned in his time for portraits like this one, which he took of friends, family, professional models, and several of the disadvantaged teenagers he mentored through his charitable work from the late 1880s onward. The model, who may be Gertrude Savage, one of Day’s classmates at Boston’s Chauncy School, stares out at the viewer with dark, luminous eyes, her voluminous hair only partially constrained by the patterned scarf thrown loosely over her head. An avowed amateur, Day did not believe that artistic or technical training was necessary to make good photographs, but he did believe in understanding and assimilating—almost on a spiritual level—how painters made images. In this and other portraits of this time he shows a profound understanding of chiaroscuro, the contrast of dark and light for dramatic effect.
When scholars originally rediscovered Joseph Decker’s work in the middle of the twentieth century, they were faced with a conundrum: there seemed to be two Joseph Deckers, each painting in two related but ultimately quite different styles. The first, represented by a smaller number of works, practiced the hard-edged, ultra-precise realism characteristic of other late-nineteenth-century trompe l’oeil painters like William M. Harnett and John F. Peto. The second, who was much more prolific, was characterized by a soft, textural aesthetic. After further research, it was determined that the two bodies of work were by the same man, who had undergone a radical shift in his style around 1890.
Born in Germany, Joseph Decker immigrated to Brooklyn with his family as a teenager, eventually studying at the National Academy of Design before returning to Germany to study in Munich. It was there that he developed his style of minute realism, perhaps also influenced by the illustrations on commercial seed packets he found upon his return to the United States. This painstaking style was popular among certain middle-class consumers, but was largely reviled by the professional art press. As a result of some combination of the difficulty of the style and its lack of critical success, Decker largely stopped participating in the public art world around 1890, though he continued to paint, albeit now in a new, softer style. This painting is in that second mode, which likely dates it after 1890. The rich, hazy texture of the berries–a favorite subject–is in line with the Tonalist movement, which emphasized softness and the qualities of light and texture over realism.
The Reverend Robert Furman was a Protestant minister and was associated with the abolitionist movement. He resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts.
This likeness of Melinda Wilkins Furman is an excellent example of mid-nineteenth-century American portraiture. The austerity of the setting befits the wife of a Protestant minister. The focus of the portrait is the sitter’s finely painted face. She looks out with kind, meek eyes. Faint lines of experience are seen on her forehead and around her mouth. Her dress is of very good quality without being ostentatious. Her husband, the Reverend Robert Furman, was associated with the abolitionist movement. The Furmans resided in Syracuse, New York, and this fine portrait has been attributed to Charles Loring Elliott, who was also from Syracuse. Elliot left Syracuse to live in New York City in order to become a respected artist around 1830, only to return to Syracuse six months later. Undeterred, he continued working as a portraitist and by 1845 had been declared the best American portraitist since Gilbert Stuart. It was estimated in 1867 that he had painted over seven hundred portraits. This picture came to Rollins College from the estate of Dr. John Martin, whose wife, Prestonia Mann Martin, was the granddaughter of the Furmans. Mrs. Martin carried on her family's forward-thinking ways. She was involved in the American Fabian Society, a socialist group modeled on the British Fabian Society, which argued that socialism should be advanced through gradual reformist measures rather than by revolutionary means. For a time, she was involved in the founding of a utopian community near North Elba, New York. She also authored a book, Prohibiting Poverty (1933), in which she argued that the necessary toils of life should be turned over to a conscript army made up of 18-26 year olds. After their own period of service, the people of this society were free to live secure in the knowledge that their needs would be met by the conscripts.
Born on his parents’ farm outside of Cincinnati, John Joseph Enneking served in the Union Army during the Civil War. During his convalescence from a wartime injury he resumed his childhood pursuit of drawing. After the war he blended the study of art with work in the tin wholesaling business, but an economic downturn caused his business to close. Encouraged by his wife, Mary, he decided to study art full-time, moving with her and their two young children to Europe in 1872. There they traveled in Italy, Switzerland, Germany, and France. His painting, which had been in the tightly naturalistic Hudson River School style, began to loosen up under the influence of the Barbizon and Munich paintings he encountered in Europe.
When the Ennekings arrived in Paris they befriended Barbizon painter Charles-François Daubigny as well as Claude Monet, and Enneking began to adopt an Impressionist style. This work, executed during a brief return to the United States (the Ennekings returned to Europe in 1878), is indicative of his style during this period. Enneking was never as adventurous a colorist as many Impressionists, and here he blends the warm brown tones of the Munich school with an Impressionist facture that takes advantage of the coloristic and textural effects of pure paint. Strongly associated with the Boston School, one of Enneking’s favorite subjects was twilight in New England, and this painting demonstrates his masterful understanding of the play of light on the surface of the pond during the last moments of daylight.
Charles Fenderich, who immigrated to the United States from Switzerland in 1831, was one of the earliest practitioners of art lithography in the United States. Lithography, a printmaking process that involves drawing on a finely-ground piece of limestone, had been invented by a Bavarian named Alois Senefelder in 1796, and quickly gained popularity as a cheap way to produce sheet music and other mass-produced works on paper. The medium’s potential for creating inexpensive works of art was immediately recognized, but it was not until the middle of the nineteenth century that its potential was fully realized by the company that would become Currier & Ives.
Fenderich moved to Washington, D.C. from Philadelphia in 1837, intent on creating a subscription-based Port-Folio of Living American Statesmen, based on his (correct) understanding that the success of Andrew Jackson was making ordinary Americans more interested in their elected officials. Though he never completed the full portfolio, he seems to have made a living for a time selling individual prints of popular politicians, including Andrew Jackson, James K. Polk, and others. He caught the gold bug in 1849 and moved to California, subsequently appearing in San Francisco city directories as an artist for the next 40 years, though little work from his late career has been recorded.
This well-executed portrait is of Joseph Marion Hernández, who was the first representative to Congress from the Florida Territory and is often credited as the first Hispanic American to serve in Congress, which he did as a non-voting member for six months. Hernandez, a committed Jacksonian, was also a slave-holding plantation owner and served as a brigadier general during the Seminole Wars. He was the officer in charge of the detachment who captured the Seminole leader Osceola by violating a truce. After the Seminole Wars Hernandez ran unsuccessfully for the United States Senate before moving to Cuba and becoming a sugar planter, dying in 1857.
William Glackens, like many of the other artists associated with the group variously known as the Ashcan School, The Eight, and the Henri circle, got his start as an illustrator, working for newspapers in his native Philadelphia as well as national magazines including Colliers, Century, and The Saturday Evening Post. This drawing was the basis for an illustration in the Post, of a serialized story by the writer James L. Ford entitled Our American Snobs. The title refers to the so-called yellow journalism of the early twentieth century, a term for the new mass-circulation newspapers that trafficked in sensationalized and poorly sourced stories aimed at a mass audience. “The four hundred” refers to the elite of New York Society, and was coined by socialite Ward McAllister in reference to the number of people who could fit in the Manhattan ballroom of New York Society’s undisputed leader, Caroline Astor. The drawing is thus an ironic jab at the mutual dependency of the gossip press and its elite subjects.
Glackens was an inveterate sketcher, bringing his notebooks and preferred writing implements—grease pencils intended for writing on laundry packages—everywhere with him as he moved throughout New York City. Both during his career as an illustrator and later, when he transitioned to primarily working as a painter, Glackens made several preparatory drawings for each composition, using them as a way to refine both broader compositional issues and specific details. This drawing demonstrates his use his signature sketchy line as he modulates weight, thickness, and frequency in order to build up his image of wealthy men surrounded by the disreputable newspapers which covered their every move with breathless anticipation.
George Grosz was perhaps the foremost satirist of the venality and corruption of the elites of interwar German society. His caricatures—published in magazines as well as standalone portfolios—were so incendiary that he was one of the first artists targeted by the Nazis in their denunciation of modernists and leftists of all stripes. Increasingly disillusioned by his native country, he accepted a teaching position at New York’s Art Students League, arriving with his wife just eight days before Hitler became Chancellor of Germany. Once there, he enthusiastically settled into the life of an émigré artist, blunting the edge of his earlier satire and working hard to become an American, rather than German, artist.
As news of Nazi atrocities filtered across the Atlantic, Grosz became increasingly in demand. Magazines, gallerists, and museums especially clamored for his earlier caricatures, ignoring his softer and less pointed American work, which was mostly in watercolor and oil rather than pen and ink. Frustrated in his desire to be accepted as an American artist, Grosz—who became an American citizen in 1938—was increasingly isolated both from the American art world and the community of expatriate Germans. One result of this isolation was his development of a more personal vision, one tinged by melancholy rather than the promise he had seen in the United States in the years before and immediately after his arrival in New York. This scene, which shows Houston Street in Lower Manhattan, is typical of these works from the middle of his New York period. The exuberant paeans to the grandeur of the Manhattan skyline from the early 1930s have been replaced by this hazy, woozy vision. A dark, sinister figure approaches from the lower right, and Grosz uses the medium of watercolor to full effect, depicting the nighttime street with a vibrating, slightly sinister claustrophobia.
James and William Hart were born in Scotland, emigrating to the Albany, New York area with their parents in the 1830s. As youngsters, both were apprenticed to decorative painters in Albany before studying in Europe. James studied briefly with Wilhelm Schirmer at the Düsseldorf Kunstakademie in 1851 before returning to Albany, where he worked and taught until 1857, when he moved to New York City. Once there, he quickly established himself as one of the city’s foremost landscape painters, doing a brisk business selling to the newly enriched financial and industrial titans of the Civil War Era. Though subsequent critics and art historians have tended to ignore the brothers, they remained popular for decades, tracking American preferences for landscape painting from the strict naturalism of the 1850s to the preference for Barbizon-style romanticism in the 1870s.
Summer Landscape is typical of Hart’s style in the 1850s, when he was lauded in the New York press for his blending of the careful naturalism advocated by English critic John Ruskin and a more poetic sensibility preferred by many American collectors, who wanted their art to carry moral and spiritual messages. Somewhat unusually, the viewer of the painting seems to float somewhere on or above a small pond, taking in the view of the water’s edge and the landscape beyond. Hart takes care to reproduce the smallest details, including blemishes on individual leaves, while also bathing the scene in a rosy golden light that would have appealed to his patrons’ desire for emotional uplift.
Like his younger brother James, William M. Hart was born in Scotland and moved to Albany, New York at a young age. In Albany, William was apprenticed to a decorative painter. He was inspired by American painter, playwright, and historian William Dunlap to become a portrait painter, spending three mostly unsuccessful years traveling throughout the Midwest—especially Michigan—in search of patrons. He then returned to Scotland, where he studied and worked as a painter. In 1853 he moved to New York City, where he was an active presence in the city’s professional artists’ organizations, including the Brooklyn Academy of Design, the National Academy of Design, and the American Society of Watercolorists.
Also like James, William worked during the 1850s in a minutely observed style inspired by the writing of John Ruskin and the Pre-Raphaelite Brotherhood. By the time this painting was executed he had come to favor a style influenced by the French Barbizon School that featured looser brushwork and a preference for scenes of rural life. In fact, both Hart brothers did a lively business in such scenes, becoming particularly known for their depictions of cattle. This picture—which was originally executed in this oval format—is a fine example of the type, with a group of peasants, horses, and cattle gathered around the gently shabby ruin of a well in the foreground. From there the scene opens up on the pleasantly rolling hills of this anonymous place, which could be Scotland, France, or Upstate New York, yielding to a peek of a waterway on the distant horizon.
The French-born American scientist-artist John James Audubon was one of the most remarkable people of his—or any—era. Possessed of no artistic or scientific training, Audubon combined a lifelong love of birds with an ironclad determination to bring to fruition his Birds of America, a four-volume, 435-plate set of life-size illustrations of North American birds. Audubon crisscrossed the countryside collecting samples—in other words, shooting birds—which he then pinned to a system of grids and wires, creating life-sized watercolor drawings while the birds’ plumage remained fresh. Along the way he recorded in his journals and, eventually, in the Ornithological Biography he published alongside the Birds of America, his thoughts about the appearances, behaviors, and even flavors, of all the birds (and quite a few reptiles and mammals) he encountered.
As the attribution on this work makes clear, Audubon did not make the Birds of America alone. In fact, the translation of his watercolor drawings into the finished prints was the work of a team of dozens of artisans working under the London printmaker Robert Havell, Jr. Audubon sent his drawings to London in lead- or tin-lined waterproof tubes, where Havell and his team of engravers and etchers set to work translating them to print. After printing on the special double elephant folio paper—the largest available in the world at that time—they would go to another team of colorists, who would apply the same colors to each print in order to create uniform results. The enormous size of the prints meant that each volume weighed over 40 pounds, and the Birds of America was the largest known printed book until it was finally surpassed in 2003.
John James Audubon preferred to draw the birds for his Birds of America from freshly killed specimens, in order to best capture the delicate colors of feathers, eyes, and other features. In order to accomplish this he traveled widely, from Louisiana in what was then the southwest corner of the United States to Labrador, in the northeast corner of Canada, and all over the eastern half of the continent. He never made it very far west of the Mississippi, however, and for many of the birds of the Western United States he was forced to rely on preserved skins or whole stuffed specimens. For this plate, which depicts birds he termed the Violet-Green and Townsend’s Cormorants, but which are now known as the Pelagic and Brandt’s Cormorants, respectively, he relied on this method. The skins were sent to him by a Mr. Townsend, who shot them at Cape Disappointment, near the mouth of the Columbia River on the border of Washington and Oregon.
Audubon sought to represent his birds at full-size, a task which was easier for some species than others. These two feature twisted necks, a behavior seen in wild cormorants which Audubon may have highlighted in order to more efficiently use the page available to him. For prints where he had personal experience of the countryside Audubon frequently included a variety of detail, but for this far-away scene he has perched the two birds on a bare rock, providing only a simple seascape for a backdrop.
This pastel by the American artist Childe Hassam is somewhat unusual in his body of work. Hassam, who came to prominence in Boston as an illustrator and watercolorist before a brief sojourn in Paris to study at the famed Académie Julian, professed to be uninterested in Impressionism, the avant-garde art movement that had taken Paris by storm in the 1870s. Nevertheless, his prolific output of watercolors, oil paintings, pastels, and prints demonstrates a familiarity with Impressionist techniques, including working en plein aire—meaning outdoors and directly from life, in contrast to in a studio—and the use of small patches of relatively pure color.
This work, which includes an original frame selected by the artist (who was known for his exacting standards for frames), is a relatively rarity in Hassam’s oeuvre. While most of his scenes of New York City and the New England countryside and seacoast depict specific places, this view is of a generic country scene, possibly captured during summer trips he took to rural Connecticut. The sun-dappled building, placidly rolling carriage, and woman standing in the middle distance complement the shimmering luminosity of the road, whose intermingled strokes of blue and brown seem to suggest a flowing river as much as a hot, dusty thoroughfare. Hassam came to prominence during a time when Americans were becoming interested in historic architecture, particularly of the Colonial Era, and traced his own family lineage to seventeenth century Puritans. Scenes of this sort would have appealed to that burgeoning interest and helped to cement Hassam’s reputation as one of the foremost artists of New England scenery.
Hassam, who became known during his long and prolific career for his paintings of the New England coastline, as well as Boston and New York street scenes, is perhaps best known for his close friendship with the poet Celia Thaxter, who gathered a circle of like-minded writers and artists at her inn and cottage on Appledore Island, off the coast of Rye, in southern Maine. Over many years, Hassam painted Thaxter, her gardens, and the rocky shorelines of Appledore, helping to fix an image of the thriving seaside resort culture of the turn of the twentieth century.
This painting, with its flecks of pure blue interspersed with orange, yellow, white, and green, as well as its delineation of the meeting of surf and land, fits neatly into the aesthetic Hassam developed on Appledore. Yet, this painting does not depict Appledore, but rather Ironbound Island, one of several islands in Frenchman Bay, further up the Maine coast. Frenchman Bay is best known for Mount Desert Island, home of the town Bar Harbor, another major center for coastal tourism at the turn of the twentieth century. Thaxter died in 1894, prompting Hassam to stay away from Appledore for a few years, likely out of grief. Still, the artist—always a savvy marketer of himself and his work—followed his wealthy clientele to the seaside every year, spending 1896 mixing with them in the area that would become Acadia National Park. The result was this and a number of related paintings, though this one is notable for its close focus on the forbidding cliffsides for which Ironbound has long been known.
Martin Johnson Heade first became interested in landscape painting while traveling in the White Mountains of New Hampshire, where he met John Frederick Kensett and Benjamin Champney. He soon moved to New York, where he took a studio in the famed Tenth Street Studio Building, artistic home of the movement often known as the Hudson River School. He became particularly close friends with Frederic Edwin Church, whose majestic composite landscapes of South America took the country by storm in the 1850s and 1860s. Under Church’s influence, Heade traveled to Brazil, where he became fascinated by the country’s many brightly colored hummingbirds and orchids. Unlike his friend and mentor, Heade soon evolved a personal style that emphasized minute observation of flora and fauna on tiny canvases, rather than the large-scale works that brought Church such fame and fortune. His American scenes are similarly idiosyncratic, focusing on salt marshes and other liminal places usually avoided by his contemporaries.
Later in his career, Heade–always a committed naturalist–became interested in the marshes of North Florida, moving to St. Augustine in 1883 with his new bride. He soon met Henry Flagler, who was in the process of completing his magnificent Ponce-de-Leon Hotel (now part of Flagler College). Heade became the first of several artists-in-residence at the hotel, where he turned his attention to intricately painted still-lifes of cut flowers, often magnolias laid out on velvet. This venture was so successful that Heade largely stopped sending his paintings to dealers in the North, instead selling his entire production to hotel guests. This painting of marguerites is relatively rare in his oeuvre, suggesting that he was experimenting with a new style that ultimately did not prove attractive to his customers. Nonetheless, it shows his mastery of flower painting by this period, capturing a spray of the flowers from buds to full blooms, as well as the optical effect of the water on the stems.
Originally this portrait was thought to have been painted by the American painter George Peter Alexander Healy (1813-1894). This belief was based on the family tradition of the original owners. However, this attribution has been questioned by some scholars who feel that Healy would have been too young at the time to have painted such a fine portrait. Experts from the Vose Gallery in Boston and the National Portrait Gallery in Washington have suggested that the painting may have been done by the portraitists Chester Harding (1792-1866) or Samuel Waldo (1783-1861). The date of the painting is also difficult to determine with certainty. If the painting was completed as a companion to the portrait of the Reverend Warner's second wife, Elizabeth Warner, née Hart (also in the Cornell's collection), the date of c. 1840s would be appropriate. However, the Reverend Warner was first married to Elizabeth Hazard (d.1831) in 1829. It has been suggested that the Reverend Warner's attire is more in keeping with the fashions of the 1820s or 1830s, and it would have been common to have a portrait commissioned to celebrate a marriage. While it may seem odd that the Reverend Warner is depicted holding a bookkeeping ledger rather than a Bible, this attribute is in keeping with his position. A graduate of Yale Theological Seminary, Warner was made Treasurer of the college in 1832. The donor of this painting (and its companion piece), James Gamble Rogers II, was the great-grandson of the Reverend and Mrs. Warner. James Gamble Rogers II, a Winter Park architect, designed many of the buildings on the Rollins College campus including the Thomas Phillips Johnson Student Resource Center, Olin Library, McKean Hall, and Elizabeth Hall.
Robert Henri is perhaps best remembered today as a teacher and advocate for modern subject matter in American painting, a reputation he earned as the elder statesman of the loose affiliation of artists known as the Ashcan School. So-named by a critic who complained of their depictions of often dirty everyday life in New York City’s streets and tenement buildings, the Ashcan painters charted a new course in their embrace of the quotidian over the beautiful. Given his advocacy for this urban subject matter in the work of his friends and students, it is somewhat surprising that Henri the artist is best known for his work as a portraitist, as well as for brushy landscapes like this one.
Henri, like other men of his generation—most notably President Theodore Roosevelt—was a proponent of the “strenuous life,” a belief that physically demanding leisure pursuits were the antidote for the perceived social ills of modern, urban life. These ills included fatigue, anxiety, and other maladies brought on by the overly stimulating urban environment. For Henri, the strenuous life included encouraging frequent physical horseplay among his male students, as well as trips into the countryside to help diminish the ill effects of the city. One such trip resulted in this painting, in which Henri shows his dedication to a quick, sketch-like stroke of the brush, the better to convey his own investment in the immediacy of lived experience.
In 1913, looking for a new summer home, Henri traveled to Achill Island, which lies off the northwest coast of Ireland in the Atlantic Ocean. His interest in Ireland was prompted by his and his wife’s Irish heritage, as well as his desire to experience something different from Spain, where he had been spending his summers. Achill in particular came at the recommendation of John Butler Yeats, a painter (and the father of poet William Butler Yeats) who was a friend and sometime collaborator of Henri and the other Ashcan artists. Yeats recommended the island in part because of its rural and traditional ways of life. Henri rented an estate named Corrymore, settling in to paint a combination of the local landscapes and people. The confluence of his own financial troubles and the outbreak of World War I kept Henri from returning until 1924. When he did, he found Corrymore in the hands of the newly formed independent Irish government, which offered to sell him the property for less than he had paid to lease it in 1913. He happily purchased it, and he and his wife returned every summer until he died of pancreatic cancer in 1929.
During the 1924-1928 summer seasons, Henri focused his efforts almost entirely on painting the children of the local town of Dooagh. His wife, Marjorie, fed the children and entertained them with records on the Victrola, then a novelty for the impoverished people of the town. Henri paid the children half a crown, equivalent to a day’s wages for a male laborer at the time. He usually completed the portraits in a single sitting, applying his paint quickly and efficiently to capture the sitter’s essence rather than create an exacting likeness. Though it is titled Rosaleen, this painting actually depicts a girl named Bridget O’Reilly (the children of the island generally shared a very small number of both first and last names, which has sometimes made it difficult for scholars to determine exactly which child sat for which painting). She holds a doll, an unknown luxury for the time that must have been provided by Marjorie Henri. The portrait, one of the last Henri painted before succumbing to cancer, represents the culmination of Henri’s ideas about the power of immediacy in artistic representations.
Herzog started traveling to Florida around 1890, when he began visiting his son Lewis, who was then working as a chemist in Gainesville. The state—most of which remained undeveloped and quite wild well into the twentieth century—appealed to his interests in dense, atmospheric forests. Most of his Florida paintings depict the area around Gainesville. This is one of the few he produced during a rare trip to the East. The slow-moving river gives way to the ocean, a fisherman’s camp occupying the middle ground. The area Herzog depicts is now part of the urban landscape of Jacksonville, and Herzog has captured it during a much quieter era. His interest in lower light levels is once again apparent, with a sliver of crescent moon just giving way to the sun as it creeps over the horizon.
Hermann Herzog was a renowned German-born American landscape artist who pursued a formal art education at the Düsseldorf Academy. He immigrated to the United States in the late 1860s; leaving behind his success in Europe, he settled in Philadelphia with his wife Anne, and son, Herman Jr. Herman moved away from exaggerated forms and trompe l’oeil under the influence of the Barbizon painters’ use of softer colors and their studies of weather and atmospheric mood. Herzog applied these new characteristics to his American paintings as he traveled frequently between 1880 and 1903 throughout the United States, and especially between Florida and the West Coast, drawn to their diverse and distinctive topographies.
The presence of elk and the mountain range in the distance suggest it is very likely that Herzog painted Sunset with Elk during one of his trips out west. The painting depicts the sublime power of nature, while exhibiting his style of capturing details through quick, rapid brushstrokes for a more naturalistic effect. His study of atmosphere to convey mood is apparent in his contrast of light and dark as the sun sets behind the clouds, creating a feeling of mystery and awe.
Both painter and sitter of this portrait lived colorful lives. Hubard was born in Shropshire, England, and showed early promise as a cutter of silhouettes. Mostly forgotten today, silhouettes of famous individuals were popular traveling attractions in the eighteenth and early nineteenth centuries. Hubard, first in the company of a man named Smith and then on his own, made a good living exhibiting his in the cities of Great Britain, the United States, and Canada. The circumstances of his conversion to portrait painter are not entirely clear, though he seems to have met Gilbert Stuart while his Hubard Gallery was in Boston. By the late 1820s he was working as an itinerant painter up and down the Eastern Seaboard, making a series of portraits of famous statesmen. He settled in Gloucester County, outside Richmond, VA, by 1833. He specialized in what was then known as a cabinet picture, meaning a small-scale full-length portrait, usually done in oil and on a wood panel.
This painting is an excellent example of his style just before he left for further training in Europe, around 1838. It depicts David Porter, who was by the time of the painting retired from naval service. Born in Boston, Porter served in the American conflict with the Barbary states before taking command of the frigate U.S.S. Essex in the War of 1812. He led a successful campaign against the British whaling fleet in the Pacific before eventually being defeated in the Battle of Valparaiso. After the war he continued in his service until a dispute with the War Department caused him to resign his commission. He later served as the Commander in Chief of the newly formed Mexican Navy until 1829, after which he was appointed to serve as a minister to the Ottoman Empire by Andrew Jackson. It was during this service that the portrait was likely made, though it is not clear where or how Hubard and Porter’s paths crossed. Hubard represents Porter in his splendor as a naval officer, posed on the battlements of an unknown (and likely imaginary) fortress.
The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career.
These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters.
The creator of these drawings, Daniel Huntington, was one of the most successful and well-known artists of his day. In addition to his success as a portraitist—anyone who was anyone in New York had to have him paint their likeness—he was a long-serving president of the National Academy of Design, the premier artistic training and professional organization in the United States during the nineteenth century. Before settling into his life as a portraitist, Huntington, like many of the artists of his generation, went on a trip to Europe, beginning in 1839 and lasting three years. While overseas he took a particular liking to Rome, where he admired the work of the Nazarenes, a group of German painters who were heavily influenced by the art of the Italian Renaissance. The first of these drawings, of a hand resting on a table, was influenced by the Renaissance master Titian, and was intended to aid his completion of a now-unknown portrait. The second bears the inscription “For the Communion of the Sick,” a reference to a now-unlocated painting, one of several didactic Christian allegories Huntington made in his early career.
These sorts of preparatory sketches were quite common in the nineteenth century, and Huntington’s close study of anatomy reveals his academic training. While serving as President of the National Academy he would champion similar training, which required close study and drawing of classical statuary, especially of recognized masterpieces like the Apollo Belvedere, before moving on to careful study of the nude model. Only after mastering drawing from life in this way would students be permitted to move on to painting in oils. Even once working in oils, painters made drawings like these to aid in their compositions, though the widespread introduction of photography in the later nineteenth century started to supplant this practice, especially among portrait painters.
Anna Hyatt Huntington’s father was a zoologist and paleontologist who taught at Boston University and the Massachusetts Institute of Technology. She first discovered her love of animals accompanying him to zoos and natural history museums around New England. She saw early success in Boston, training under a number of prominent American sculptors, one of whom she split with over a disagreement about the proper way to represent the musculature of a horse. When her father died in 1902, she moved to New York, where she took advantage of the brisk market for statuettes—particularly of animal subjects—and the large number of other single women working as artists. She was reportedly one of the highest-paid professional women in the country, with reported earnings as high as $50,000 a year (a number which sh
|
|||||||
6840
|
dbpedia
|
1
| 19
|
https://artherstory.net/women-reframe-american-landscape-at-the-thomas-cole-national-historic-site/
|
en
|
Women Reframe American Landscape
|
[
"https://artherstory.net/wp-content/uploads/2018/11/Art-Herstory-Logo-Medium_2.png",
"https://artherstory.net/wp-content/uploads/2023/07/view-of-Susie-Barstow-drawings-and-sketches-3-1024x741.jpg",
"https://artherstory.net/wp-content/uploads/2023/07/Susie-Barstow-photo-with-view-of-her-paintbox-663x1024.jpg",
"https://artherstory.net/wp-content/uploads/2023/07/2_cropped_FB1_purple_flowers_600x600.jpg",
"https://artherstory.net/wp-content/uploads/2023/07/3_women-artist-books-Susie-Barstow-Fidelia-Bridgesjpg.webp",
"https://artherstory.net/wp-content/uploads/2023/07/New-Studio-Thomas-Cole-House-1-1024x664.jpeg",
"https://artherstory.net/wp-content/uploads/2023/07/Main-House-at-Thomas-Cole-National-Historic-Site-1024x681.jpeg",
"https://artherstory.net/wp-content/uploads/2023/07/TCNHS_InstallationviewofJauneQuick-to-SeeSmith-work-1024x679.jpg",
"https://artherstory.net/wp-content/uploads/2023/07/Teresita-Fernandez-at-Thomas-Cole-House-1024x683.jpeg",
"https://artherstory.net/wp-content/uploads/2023/07/detail-of-Teresita-Fernandez-1024x922.jpeg",
"https://artherstory.net/wp-content/uploads/2023/07/Ebony-Patterson-at-Thomas-Cole-House-1024x657.jpeg",
"https://artherstory.net/wp-content/uploads/2023/07/Emily-Cole-painted-china.jpg",
"https://artherstory.net/wp-content/uploads/2023/07/Susie-Barstow-I-will-overcome-at-Thomas-Cole-National-Historic-Site-1024x756.png"
] |
[] |
[] |
[
""
] | null |
[
"Erika Gaffney"
] |
2023-07-18T21:19:00+00:00
|
Art Herstory presents thoughts about the Summer 2023 exhibition Women Reframe American Landscape at the Thomas Cole National Historic Site.
|
en
|
Art Herstory
|
https://artherstory.net/women-reframe-american-landscape-at-the-thomas-cole-national-historic-site/
|
Historic and contemporary female landscape artists in conversation
Women Reframe American Landscape at the Thomas Cole National Historic Site (TCNHS) in Catskill, New York is an exhibition in two parts. Three curators—Nancy Siegel, Kate Menconeri and Amanda Malmstrom—collaborate to present a transhistoric survey of how American women artists have engaged, and continue to engage, with land.
Celebrating Susie Barstow, and other women of the Hudson River School
The historic portion of the show, Susie Barstow and Her Circle, is housed in the New Studio building. This segment recognizes the contributions of women painters of the Hudson River School, with a special focus on nineteenth-century American landscape artist Susie Barstow. According to Nancy Siegel’s Art Herstory guest post about this artist, though Barstow maintained a presence in New York City via her Brooklyn studio, she was a lover of the outdoors and an inveterate hiker. Barstow frequented the Catskills, the Adirondacks, the White Mountains, and the lakes and mountains of Maine for inspiration. She made multiple excursions abroad with and without her partner, Florence Nightingale Thallon, a fellow artist with whom she frequently lived and traveled for nearly two decades.
In the TCNHS exhibition, about a dozen of Barstow’s framed landscape oil paintings adorn two of the walls. There are also display cases that present objects of material culture, including Susie’s paintbox.
Also on view are tickets she saved from the 1893 World’s Columbian Exhibition, letters, small drawings, a receipt to one of her students for art lessons, and the artist’s calling card.
On the remaining walls within the New Studio segment of the exhibition, visitors find paintings by other women artists of the Hudson River School. These painters include Laura Woodward, Eliza Pratt Greatorex, Julie Hart Beers, Charlotte Buell Coman, Mary Josephine Walters, and Fidelia Bridges.
Public vs. private collections
Though some of the paintings in this room are on loan from public institutions—among them the Baltimore Museum of Art, the Harriet Beecher Stowe Center, and the Albany Institute of Art and History—most are from private collections. Dismayingly few public collections seem to own works by these artists, so perhaps this is unsurprising. But I was slightly surprised and pleased to notice that the placards identify many of the owners by name.
While both Fidelia Bridges paintings in this exhibit are from private collections, this artist is an exception to the generalization above. More than 30 US museums hold at least one of her works, whether an oil painting, a watercolor, or a chromolithograph. Presumably when the show moves to the New Britain Museum of American Art, and then the Leigh Yawkey Woodson Art Museum, these institutions will add some of their own Bridges holdings to the historic art segment. (One of the Woodson Art Museum’s current exhibitions is Fidelia Bridges: The Artful Sketch.)
A special anniversary: Barstow and Bridges, one hundred years on
This year marks a significant anniversary for Bridges as well as for Barstow. It is exactly one century since each woman died in 1923. There is a beautifully illustrated, accessibly written new book about each artist to commemorate the anniversary. A copy of each is available in the New Studio for visitors to browse: Susie M. Barstow: Redefining the Hudson River School, by Nancy Siegel; and Fidelia Bridges: Nature into Art, by Katherine Manthorne. Other books on women artists by Manthorne include Restless Enterprise: The Art and Life of Eliza Pratt Greatorex and Women in the Dark: Female Photographers in the US, 1850–1900.
Interlude: Properties and practicalities
Outdoors
Contemporary Practices, the complementary segment of this exhibition, is located in the Main House on the TCNHS grounds. Before moving on to this portion of the show, let me explain the layout of the site. The museum sits on the property where Thomas Cole, the English-born founder of the Hudson River School, lived and worked. But notice I don’t write, “on the property once owned by Thomas Cole.” Interestingly, during his lifetime the owners were first his wife’s uncle, and later his sister-in-law. Eventually, Cole’s wife Maria became the owner, but that was after his death.
There are currently three structures on the grounds. These include the New Studio, which I mention above; it is a reproduction, built in 2015. The original building was torn down in 1973. The ground floor is an exhibit space; upstairs is the museum’s mechanical room. The Old Studio, restored in 2004, is the back room of a former storehouse for crop harvests. It now contains the Visitor’s Center and museum shop, as well as some supplemental exhibit space. (When the new purpose-built Visitor’s Center is complete, this historic building will become a space for meetings and workshops.) And the largest building is the three-story Main House.
Indoors
The temporary display of contemporary artwork in the Main House intermixes with the permanent display. Among the objects are paintings by Thomas Cole, and furnishings and equipment that he and his household used. The focus on the household, as well as the artist, is deliberate, and important. The museum team has set itself an explicit mission to conduct research on all historic figures associated with the site. As I will touch on again later in this review, everyone who contributed to the property’s upkeep and functioning matters, whether their names are known to us or not.
Throughout the house, digital technology discretely complements the historical appointments. There are artworks projected onto screens, informational videos, supplemental texts one can scroll digitally, links to audio commentary by the exhibition’s curators, and QR codes linking to further information online. Less high tech, but also very helpful in certain weather, are the large umbrellas that circulate among the three buildings.
How do women artists engage with land today?
Contemporary Practices features living artists whose work touches—albeit in very different ways—on our relationship with the land. Teresita Fernández‘s thinking about landscape informs the entire enterprise; the artist contributes an essay to the exhibition catalog. I particularly admired her site-specific installation in one of the ground floor rooms, which incorporates only materials found in nature. (And I admit I am quite curious as to how/whether a site-specific installation transfers to the other venues for this show.)
On the same floor, a multi-media (and multi-layered) work by Ebony G. Patterson takes up a considerable portion of one wall. On the stair landing is a characteristically humorous-yet-incisive poster from the Guerrilla Girls, specially composed for this exhibition. Upstairs, visitors will view paintings by Jaune Quick-to-See Smith and some of her beadwork, on display here for the first time.
There is also book art by Anna Plesset; sculpture by Jean Shin; a set of “seasons” photographic self-portraits by Wendy Red Star; and a wall-size photograph by Tanya Marcuse of carefully staged objects. A viewer might easily mistake the latter for a mural. Other artists with art on display in the house or in the Old Studio in the Visitor’s Center are Marie Lorenz, Mary Mattingly, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk.
The Cole women, and other important members of the household
And for visitors who thought they had left historic women artists behind in the New Studio, there is a pleasant surprise. The Main House display includes oil paintings by Cole’s sister Sarah, and watercolors and decorated china by his daughter Emily! According to the TCNHS website, Emily Cole lived on the property her whole life and made a living selling her art. She was the focus of the 2019 exhibition The Art of Emily Cole. The TCNHS owns some 60 of Emily’s watercolor illustrations; her artistic output constitutes approximately one sixth of the collection. Personal aside: I was gleeful to purchase the Art of Emily Cole Botanical Postcard Set, which I have long coveted.
As I mention above, the permanent display in the House does not focus solely on Thomas Cole. It recognizes not only his sister, painter Sarah Cole, and his artist-daughter Emily, but also Maria Bartow, his wife and indispensable advisor. And importantly, the text around the house acknowledges the work of people—at least some of whom were enslaved, prior to Thomas Cole’s time at the house—who cooked, cleaned, sewed, and provided other essential services. A very small basement bedroom attests that not everyone who lived in the house was as privileged as those who occupied the upstairs bedrooms. It is an ambition of the museum team eventually to restore the house’s original kitchen in a way that honors all persons connected with it.
More venues in which to see, or read about, this exhibition
Women Reframe American Landscape is on at the TCNHS through October 29, 2023. Then, the New Britain Museum of American Art hosts the show from November 18, 2023 to March 31, 2024. And it will be on view at the Leigh Yawkey Woodson Art Museum from May 4 to August 25, 2024.
Read more reviews of this exhibition from Forbes.com, The Times Union, Cultured Mag, DailyArt Magazine, and Artnet News. The exhibition catalog is available from the TCNHS and Hirmer; it is also available in North America from the University of Chicago Press.
Other Art Herstory blog posts you might enjoy:
Women Artists at the Cape Ann Museum, by Erika Gaffney
Illuminating Sarah Cole, by Kristen Marchetti
Defining Moments: Mary Cassatt and Helen McNicoll in 1913, by Julie Nash
Susie M. Barstow: Redefining the Hudson River School, by Nancy Siegel
Science, Nature, and Music in the Art of Alma Thomas, by Erika Gaffney
Laura Seymour Hasbrouck, A Painter of the Hudson River School, by Lili Ott
Portraying May Alcott Nieriker, by Julia Dabbs
Celebrating Eliza Pratt Greatorex, an Irish-American Artist, by Katherine Manthorne
The Ongoing Revival of Matilda Browne, American Impressionist, by Alexandra Kiely
|
|||||
6840
|
dbpedia
|
0
| 55
|
http://hoocher.com/Asher_Brown_Durand/Asher_Brown_Durand.htm
|
en
|
Asher Brown Durand
|
[
"http://hoocher.com/Asher_Brown_Durand/Self_Portrait_1835.jpg",
"http://hoocher.com/Asher_Brown_Durand/Asher_Durands_Engraving_of_John_Trumbulls_Painting.jpg",
"http://hoocher.com/Asher_Brown_Durand/John_Trumbulls_Painting_of_the_Signing_of_the_Declaration_Independence.jpg",
"http://hoocher.com/Asher_Brown_Durand/Luman_Reed_1844.jpg",
"http://hoocher.com/Asher_Brown_Durand/Thomas_Cole_ca_1837.jpg",
"http://hoocher.com/Asher_Brown_Durand/Brown_Gray_Durand_1850.jpg",
"http://hoocher.com/Asher_Brown_Durand/Kindred_Spirits_1849.jpg",
"http://hoocher.com/Asher_Brown_Durand/Progress_The_Advance_of_Civilization_1853.jpg",
"http://hoocher.com/Asher_Brown_Durand/Andrew_Jackson_1836.jpg",
"http://hoocher.com/Asher_Brown_Durand/James_Madison_1833.jpg",
"http://hoocher.com/Asher_Brown_Durand/John_Adams.jpg",
"http://hoocher.com/Asher_Brown_Durand/John_Quincy_Adams.jpg",
"http://hoocher.com/Asher_Brown_Durand/Gathering_Storm_ca_1837.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_from_Nature,_Hoboken,_N_J_ca_1837.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Composition_ca_1838.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Sunset_1838.jpg",
"http://hoocher.com/Asher_Brown_Durand/In_the_Woods_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/Kindred_Spirits_1849.jpg",
"http://hoocher.com/Asher_Brown_Durand/A_Creek_in_the_Woods_1865.jpg",
"http://hoocher.com/Asher_Brown_Durand/A_Study_from_Nature_ca_1845.jpg",
"http://hoocher.com/Asher_Brown_Durand/A_Summer_Afternoon_1849.jpg",
"http://hoocher.com/Asher_Brown_Durand/Alpine_View,_near_Meyringen_1842.jpg",
"http://hoocher.com/Asher_Brown_Durand/Aaron_Ogden_1833.jpg",
"http://hoocher.com/Asher_Brown_Durand/Adirondack_Mountains,_New_York_ca_1870.jpg",
"http://hoocher.com/Asher_Brown_Durand/Adirondacks_1848.jpg",
"http://hoocher.com/Asher_Brown_Durand/After_a_Summer_Shower_Date_Unknow.jpg",
"http://hoocher.com/Asher_Brown_Durand/An_Old Mans_Reminiscences_1845.jpg",
"http://hoocher.com/Asher_Brown_Durand/Ariadne_ca_1831_35.jpg",
"http://hoocher.com/Asher_Brown_Durand/Beacon_Hills_on_the_Hudson_River_ca_1852.jpg",
"http://hoocher.com/Asher_Brown_Durand/Black_Birches,_Catskill_Mountains_1860.jpg",
"http://hoocher.com/Asher_Brown_Durand/Black_Mountains,_from_the_Harbor_Islands,_Lake_George_ca_1875.jpg",
"http://hoocher.com/Asher_Brown_Durand/Butternut_Tree_at_Hague,_Lake_George,_New_York_ca_1862.jpg",
"http://hoocher.com/Asher_Brown_Durand/Catskill_Clove,_New_York_1864.jpg",
"http://hoocher.com/Asher_Brown_Durand/Catskill_Mountains_ca_1830.jpg",
"http://hoocher.com/Asher_Brown_Durand/Clearing_Up_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Cows_in_a_New_Hampshire_Landscape_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Dance_on_the_Battery_in_the_Presence_of_Peter_Stuyvesant_1838.jpg",
"http://hoocher.com/Asher_Brown_Durand/Dover_Plain,_Dutchess_County,_New_York_1848.jpg",
"http://hoocher.com/Asher_Brown_Durand/Early_Morning_at_Cold_Spring_1850.jpg",
"http://hoocher.com/Asher_Brown_Durand/Gods_Judgment_Upon_Gog_ca_1851_52.jpg",
"http://hoocher.com/Asher_Brown_Durand/Group_of_Trees_1855_57.jpg",
"http://hoocher.com/Asher_Brown_Durand/Guard_House,_Catskill_Mountains_ca_1850_57.jpg",
"http://hoocher.com/Asher_Brown_Durand/Hudson_River_Landscape_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Hudson_River_Looking_toward_the_Catskills_1847.jpg",
"http://hoocher.com/Asher_Brown_Durand/Hudson_River_Scene_1846.jpg",
"http://hoocher.com/Asher_Brown_Durand/Hudson_River_Sketch_ca_1850_57.jpg",
"http://hoocher.com/Asher_Brown_Durand/Ideal_Head_A_Suggestion_from_Life_1836.jpg",
"http://hoocher.com/Asher_Brown_Durand/In_the_Shade_of_the_Old_Oak_Tree_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Indian_Rescue_1846.jpg",
"http://hoocher.com/Asher_Brown_Durand/Isaac_Edrehi_of_Morocco_1840.jpg",
"http://hoocher.com/Asher_Brown_Durand/June_Shower_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Kaaterskill_Clove_1866.jpg",
"http://hoocher.com/Asher_Brown_Durand/Lake_George_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Lake_Scene_in_the_Mountains_1874.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape,_Composition,_Afternoon,_In_the_Woods_1847.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape,_Composition,_Forenoon_1847.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_1866.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Beyond_the_Tree_1859.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_ca_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Composition_In_the_Catskills_1848.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Creek_and_Rocks_ca_1850_59.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_Scene_from_Thanatopsis_1850.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_with_Beach_Trees_ca_1845.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Beeches_1845.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_with_Birches.jpg",
"http://hoocher.com/Asher_Brown_Durand/Landscape_with_Birches_ca_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/Monument_Mountain,_Berkshires_1855_60.jpg",
"http://hoocher.com/Asher_Brown_Durand/Mount_Chocorua,_New_Hampshire_1827.jpg",
"http://hoocher.com/Asher_Brown_Durand/Mount_Washington_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/Mountain_Stream_ca_1848.jpg",
"http://hoocher.com/Asher_Brown_Durand/Mountain_Vista_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Nature_Study,_Trees,_Newburgh,_N_Y_1849.jpg",
"http://hoocher.com/Asher_Brown_Durand/Nature_Study_A_Birch_Tree_ca_1860.jpg",
"http://hoocher.com/Asher_Brown_Durand/Oerwesel_on_the_Rhine_1843.jpg",
"http://hoocher.com/Asher_Brown_Durand/Pastoral_Landscape_1866.jpg",
"http://hoocher.com/Asher_Brown_Durand/Pastoral_Landscape_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Pastoral_Scene_1861.jpg",
"http://hoocher.com/Asher_Brown_Durand/Peter_Stuyvesand_and_the_Trumpeter_1836.jpg",
"http://hoocher.com/Asher_Brown_Durand/Picnic_in_the_Country_1863.jpg",
"http://hoocher.com/Asher_Brown_Durand/Portrait_of_the_Artists_Wife_and_her_Sister_1834.jpg",
"http://hoocher.com/Asher_Brown_Durand/Rocky_Cliff_ca_1860.jpg",
"http://hoocher.com/Asher_Brown_Durand/Roman_Head_1840.jpg",
"http://hoocher.com/Asher_Brown_Durand/Roman_Head_2_ca_1840_41.jpg",
"http://hoocher.com/Asher_Brown_Durand/Roman_Head_3_ca_1840_41.jpg",
"http://hoocher.com/Asher_Brown_Durand/Roman_Head_4_ca_1840_41.jpg",
"http://hoocher.com/Asher_Brown_Durand/Rural_Landscape_with_Hay_Wagon_ca_1860.jpg",
"http://hoocher.com/Asher_Brown_Durand/Self_Portrait.jpg",
"http://hoocher.com/Asher_Brown_Durand/Self_Portrait_ca_1830_33.jpg",
"http://hoocher.com/Asher_Brown_Durand/Shandaken_Range,_Kingston_ca_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Sketch_in_the_Woods_ca_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Sorrento_1841.jpg",
"http://hoocher.com/Asher_Brown_Durand/Strawberrying_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_at_Marbletown,_Ulster_County_ca_1845.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_for_a_Summer_Afternoon_ca_1865.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_from_Nature,_Stratton_Notch,_Vermont_1853.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_from_Nature_Rocks_and_Trees_in_the_Catskills,_New_York_ca_1856.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_in_the_Woods_1853.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_of_a_Wood_Interior_ca_1850.jpg",
"http://hoocher.com/Asher_Brown_Durand/Study_Woodland_Interior_ca_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Summer_on_Lake_George_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/Summer_Stream_1858.jpg",
"http://hoocher.com/Asher_Brown_Durand/Sunday_Morning_1839.jpg",
"http://hoocher.com/Asher_Brown_Durand/Sunday_Morning_1860.jpg",
"http://hoocher.com/Asher_Brown_Durand/Sunset_Souvenir_of_the_Adirondacks_1878.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Catskills_1859.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Durand_Children_1832.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Morning_of_Life_1840.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Evening_of_Life_1840.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Fallen_Monarch_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_First_Harvest_in_the_Wilderness_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Indians_Vespers_1847.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Pedlar_1836.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Picnic_1869.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Sketcher_1870.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Solitary_Oak_1844.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Stranded_Ship_1844.jpg",
"http://hoocher.com/Asher_Brown_Durand/The_Trysting_Tree_1878.jpg",
"http://hoocher.com/Asher_Brown_Durand/Trees_by_the_Brookside,_Kingston,_New_York_ca_1846.jpg",
"http://hoocher.com/Asher_Brown_Durand/View_in_the_Catskills_1844.jpg",
"http://hoocher.com/Asher_Brown_Durand/View_of_Esopus_Creek,_Ulster_County,_New_York_Date_Unknown.jpg",
"http://hoocher.com/Asher_Brown_Durand/View_of_Rutland,_Vermont_ca_1839_40.jpg",
"http://hoocher.com/Asher_Brown_Durand/View_of_the_Shandaken_Mountains,_New_York_1853.jpg",
"http://hoocher.com/Asher_Brown_Durand/View_of_the_Shandaken_Mountains_1853.jpg",
"http://hoocher.com/Asher_Brown_Durand/White_Mountains_Scenery,_Franconia_Notch,_New_Hampshire_1857.jpg",
"http://hoocher.com/Asher_Brown_Durand/Woodland_Brook_1859.jpg",
"http://hoocher.com/Asher_Brown_Durand/Woodland_Interior_ca_1855.jpg",
"http://hoocher.com/Asher_Brown_Durand/Woodland_Landscape_1854.jpg",
"http://hoocher.com/Asher_Brown_Durand/Woodland_Scene_ca_1850.jpg",
"http://hoocher.com/Asher_Brown_Durand/Woodland_Stream_Date_Unknown.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null | null |
American Hudson River School Artist
1796 - 1886
Self-Portrait:1835
Durand was born in and eventually died in Maplewood, New Jersey (then called Jefferson Village), the eighth of eleven children; his father was a watchmaker and a silversmith.
Durand was apprenticed to an engraver from 1812 to 1817 and later entered into a partnership with the owner of the firm, who asked him to run the firm's New York branch. He engraved the Declaration of Independence for John Trumbull in 1823, which established Durand's reputation as one of the country's finest engravers. Durand helped organize the New York Drawing Association in 1825, which would become the National Academy of Design; he would serve the organization as president from 1845 to 1861.
Asher Durand's Engraving of John Trumbull's Painting John Trumbull's Painting of the Signing of the Declaration Independence
His interest shifted from engraving to oil painting around 1830 with the encouragement of his patron, Luman Reed. In 1837, he accompanied his friend Thomas Cole on a sketching expedition to Schroon Lake in the Adirondacks and soon after he began to concentrate on landscape painting. He spent summers sketching in the Catskills, Adirondacks, and the White Mountains of New Hampshire, making hundreds of drawings and oil sketches that were later incorporated into finished academy pieces which helped to define the Hudson River School.
Luman Reed: 1844One of early America's great art patrons, the dry goods merchant Luman Reed of New York offered critical support to the careers of Durand, the landscape painter Thomas Cole, and the genre painter William Sidney Mount, and built a gallery in his house for the display of their work and that of the old masters. From Durand, Reed commissioned portraits of the nation's presidents and eventually encouraged the artist to abandon his original career as an engraver to become a painter. Still, he would not live to see Durand blossom as a landscape artist. Reed died untimely, just the year after the completion of this solid likeness. His passing was sorely mourned; Durand reminded Cole in a letter that Reed was "the man whose equal we shall never see again." The artist did not exaggerate, but Reed's partner, Jonathan Sturges, for whom this portrait was painted, became an important patron in his own right of Durand, Cole, and their colleagues.
Quoted From: Heilbrunn Timeline of Art History - The Metropolitan Museum
Thomas Cole: ca 1837
Durand is particularly remembered for his detailed portrayals of trees, rocks, and foliage. He was an advocate for drawing directly from nature with as much realism as possible. Durand wrote, "Let (the artist) scrupulously accept whatever (nature) presents him until he shall, in a degree, have become intimate with her infinity...never let him profane her sacredness by a willful departure from truth."
Like other Hudson River School artists, Durand also believed that nature was an ineffable manifestation of God. He expressed this sentiment and his general views on art in his "Letters on Landscape Painting" in The Crayon, a mid-19th century New York art periodical. Wrote Durand, "[T]he true province of Landscape Art is the representation of the work of God in the visible creation..."
Pictured L to R.: Henry Kirke Brown, Henry Peters Gray and Asher Brown Durand,
photographer unknown. Artists were members of the National Academy of Design: 1850
Durand is noted for his 1849 painting Kindred Spirits which shows fellow Hudson River School artist Thomas Cole and poet William Cullen Bryant in a Catskills landscape. This was painted as a tribute to Cole upon his death in 1848. The painting, donated by Bryant's daughter Julia to the New York Public Library in 1904, was sold by the library through Sotheby's at an auction in May 2005 to Alice Walton for a purported $35 million. The sale was conducted as a sealed, first bid auction, so the actual sales price is not known. At $35 million, however, it would be a record price paid for an American painting at the time.
Kindred Spirits: 1849
Another of Durand's painting is his 1853 Progress, commissioned by a railroad executive. The landscape depicts America's progress, from a state of nature (on the left, where Native Americans look on), towards the right, where there are roads, telegraph wires, a canal, warehouses, railroads, and steamboats.
Progress: The Advance of Civilization: 1853Two American Treasures, Sold - Hudson River SchoolThis is an interesting story about the sale of two significant pieces of American Art. Yet, I am not sure how I feel about this. ~ Senex
In 2007, the Brooklyn Museum exhibited nearly sixty of Durand's works in the first monographic exhibition devoted to the painter in more than thirty-five years. The show, entitled "Kindred Spirits: Asher B. Durand and the American Landscape," was on view from March 30 to July 29, 2007.
Quoted From: Asher Brown Durand - Wikipedia
Heilbrunn Timeline of Art History - The Metropolitan Museum of Art
The acknowledged dean of American landscape painters following the death of Thomas Cole, Asher Brown Durand exemplified the fresh ideal of naturalism for the second-generation painters that came to be called the Hudson River School. Born in Jefferson Village (now Maplewood), New Jersey, Durand first worked for his father, a watchmaker and silversmith, before apprenticing with the engraver Peter Maverick in Newark, from 1812 to 1817. In the latter year, he became Maverick's associate and established and led the firm's New York City branch until 1820, when he left following a dispute with Maverick over Durand's independent acceptance of a commission from John Trumbull to engrave his famous painting, The Declaration of Independence (1786; Yale University Art Gallery). Completed in 1823, the engraving significantly boosted Durand's standing in the New York art world, and in 1825 he joined with Samuel F. B. Morse, Thomas Cole, William Sydney Mount, and others in founding the New-York Drawing Association, soon to be called the National Academy of Design; shortly after, he was elected to the Lunch Club, ancestor of the Bread and Cheese Club, the Sketch Club, and the Century Association. Under the influence of his fellow artists, Durand in the 1830s turned more and more to painting, producing genre and portraits. The latter included a series of the American presidents commissioned by the liberal New York dry-goods merchant Luman Reed, who by 1835 had persuaded Durand to abandon engraving.
Andrew Jackson: 1836 James Madison: 1833 John Adams John Quincy Adams
Reed was also an enthusiastic patron of Mount and Cole, and the latter's talent, ideals, and success as a landscape painter increasingly attracted Durand, who was among the first New Yorkers in 1825 to buy a Cole painting. The two eventually became fast friends and, as early as 1837, sketching companions in the Adirondacks and, in 1839, in New England. The earlier jaunt probably was pivotal in converting Durand to landscape painting; however, he had begun exhibiting the occasional landscape subject at the Academy a decade earlier. Durand's commitment to his new artistic career was reflected in his first and only journey abroad, from April 1840 to June 1841, visiting Britain, France, Belgium, Holland, Germany, Switzerland, and, from October 1840 to the following May, Italy, from the lake district as far south as Naples. With him on part of the journey were two younger aspiring painters who had also started in the engraving trade, John Frederick Kensett and John William Casilear.
Gathering Storm: ca 1837 Study from Nature, Hoboken, N. J. ca 1837 Landscape Composition: ca 1838 Landscape - Sunset: 1838
Though Durand copied the old masters extensively in the galleries of Europe and drew frequently outdoors, his most critical encounter abroad may have been in London, where the American expatriate Charles Robert Leslie showed him, Kensett, and Casilear paintings and plein-air oil sketches by the late British master John Constable, for whose estate Leslie was the executor. To one Constable painting, Durand responded that it evinced "more of simple truth and naturalness than any English landscape I have ever before met with." On his return home, Durand seemed to take Constable's naturalism to heart, fortifying his conviction by reading Leslie's 1843 biography of the English master as well as the first volume, also published in 1843, of British critic John Ruskin's Modern Painters. Durand began making seasonal trips in the hills along the Hudson River, then in the Adirondacks and New England-often with other artists or with his family-to sketch in pencil and oil directly from mostly near-at-hand natural motifs. From these, he fashioned progressively vivid compositions typically of woodland interiors, culminating in masterpieces of organic verisimilitude, such as the Museum's In the Woods, 1855. In the same year, Durand cemented his reputation as the guiding philosopher of the second generation of New York landscape painters with the publication in nine periodical installments of his "Letters on Landscape Painting." In these, he ardently promoted the practice of painting outdoors from humble natural objects as the route to learning and refining one's art as opposed to learning from other art or artists. Concurrently, Durand functioned as the personal exemplar to several of the younger painters who gathered about him in a veritable summer sketching colony in the White Mountains.
In the Woods: 1855In the Woods is not only arguably the masterpiece of Durand's career as a landscape painter but, executed a decade later than the Museum's Beeches, measures the artist's striking advance in the naturalistic ideals he set for himself following his travel to Europe in 1840â41. Admiring the works of John Constable on that journey, Durand recognized the critical importance of plein-air sketching in imparting a sense of natural verisimilitude to his studio paintings. In the late 1840s, moreover, the English critic John Ruskin's prescriptions of "truth to nature" only fortified Durand's aesthetic standard, honing both his perceptual and technical skills outdoors and in the studio, and expanding the appeal chiefly of his woodland scenes beyond the visual to the tactile: his sylvan surfaces of bark, lichen, and moss beg the sense of touch as well as of sight. At the same time, his compositions of converging, weathered trees, their leafage filtering celestial light, evoke the idealism of Durand's friend, the poet William Cullen Bryant, who in his "Forest Hymn" had asserted, "The groves were God's first temples."
Quoted From: Asher B. Durand: In the Woods-Metropolitan Museum of Art
By 1855, Durand had also been president of the National Academy of Design for a decade and would remain so until the beginning of the Civil War, testimony not only to his personal qualities but to the preeminence to which landscape had risen by the mid-nineteenth century. The mantle of leadership he had inherited from Cole, who died in 1848, is exemplified in the commission he received the following year to portray Cole and Bryant together in the Catskills in what may be the most renowned of Hudson River School paintings, Kindred Spirits (1849; Crystal Bridges Museum of American Art, Bentonville, Arkansas, on loan to The Metropolitan Museum of Art), executed in commemoration of Bryant's eulogy to Cole at his death. Durand never paid greater tribute to his inspiration, yet evidence in his 1840s correspondence with Cole, since 1836 living in Catskill, reveals evolving differences between them of aesthetic philosophy; envy on Cole's part of his acolyte's rising success in New York; and a corresponding degree of estrangement left unresolved at Cole's demise. In his "Letters on Landscape Painting," then, Durand acknowledged Cole's originating contribution to American landscape painting but stressed the need to advance it beyond him.
Kindred Spirits: 1849Kindred Spirits (1849) is a painting by Asher Brown Durand, who was part of the Hudson River School. It depicts the painter Thomas Cole, who had died in 1848, and his friend, poet William Cullen Bryant, in the Catskill Mountains. The landscape painting, which combines geographical features in Kaaterskill Clove and a minuscule depiction of Kaaterskill Falls, is not a literal depiction of American geography. Rather, it is an idealized memory of Cole's discovery of the region more than twenty years prior, his friendship with Bryant, and his ideas towards American Nature.
Quoted From: Kindred Spirits - Wikipedia
Despite his fervent espousal of naturalism in landscape art, Durand failed to pursue it consistently, and many of the paintings of his long maturity-scrupulously executed as most are-reflect more conventional landscape modes based on seventeenth- and eighteenth-century French and Dutch antecedents. Critical acclaim declined accordingly, especially as younger painters such as Frederic Church and Albert Bierstadt pushed the thresholds of both subject and technique with vast frontier landscapes of South America, the Arctic, and the West. However, even after Durand's retirement in 1869 to his native Maplewood, he was scarcely forgotten. In 1872, he was feted at home by twenty of his former colleagues from the National Academy, and his work continued to appear at such venues as the Centennial Exhibition in Philadelphia. About 1879, in his ninth decade, Durand painted his last picture, seven years before his death.
Kevin J. Avery
Department of American Paintings and Sculpture, The Metropolitan Museum of Art
Quoted From: Asher Brown Durand (1796-1886), Thematic Essay - Heilbrunn Timeline of Art History - The Metropolitan Museum of Art
Various Works of Art of Asher Brown DurandA Creek in the Woods: 1865 A Study from Nature: ca 1845 A Summer Afternoon: 1849 Alpine View, near Meyringen: 1842 Aaron Ogden: 1833After the war, Ogden studied law and was admitted to the bar in 1784. He commenced practice in Elizabeth. He served as a presidential elector in the 1796 Electoral College that elected John Adams. He was clerk of Essex County from 1785-1803, and was elected as a Federalist to the United States Senate to fill the vacancy caused by the resignation of James Schureman and served from February 28, 1801, to March 4, 1803. He lost his bid for reelection to the Senate in 1802. In 1803, Ogden was elected to the New Jersey General Assembly, where he served until 1812. Ogden was elected trustee of the College of New Jersey (later to become Princeton University) in 1803, a post in which he served until his death. Ogden was elected as Governor of New Jersey in 1812.Ogden was nominated by President James Madison as major general of the Army in 1813, but declined the appointment. He became engaged in steamboat navigation in 1813, and was a defendant in the Gibbons v. Ogden case that denied New York State's attempted monopoly on steamboat operation between New York and New Jersey. Ogden moved to Jersey City in 1829 and resumed the practice of law. In 1830, he was appointed as collector of customs and served until his death in Jersey City. Ogden's body is interred at the First Presbyterian Church Burial Ground in Elizabeth.
Quoted From: Aaron Ogden - Wikipedia
Adirondack Mountains, New York: ca 1870"Heeding the Call of Nature: Asher Brown Durand's Communion with the American Landscape" Adirondacks: 1848 After a Summer Shower: Date Unknow An Old Man's Reminiscences: 1845This painting is one of Durand's most richly symbolic landscapes. Relying on the English poet Oliver Goldsmith's Deserted Village of 1770, which recounted the visit of an old man to the site of the town where he had spent his youth, Durand's painting functions as a cohesive picture of scenery, but more properly as a landscape of memory. What the old man sees reminds him of his own past. Childhood is represented by the schoolchildren, youth by the lovers seated beneath a tree, and adulthood by the man driving the hay cart.
Quoted From: An Old Man's Reminiscences - Albany Institute of History and Art
Ariadne: ca 1831-35Durand painted this exquisite copy of John Vanderlyn's Ariadne Asleep on the Island of Naxos (1809-12; Pennsylvania Academy of the Fine Arts) as the model for his engraving of virtually the same size, published in 1835. Ariadne was the daughter of the king of Crete who helped the Greek hero Theseus escape the labyrinth, then was seduced and abandoned by him on the island of Naxos. Vanderlyn had chosen the subject of his original as a premise for painting a lifesize nude, the finest example of such in the early history of American art. However, the original was painted in Paris, the center of Neoclassicism, where nudity in art was practically the standard. Not so in the young republic of America, where Vanderlyn's exhibitions of the painting were controversial and the artist could find an interested buyer only in Durand, who had little more success selling his reproduction.
Quoted From: Asher B. Durand's Ariadne - The Metropolitan Museum
Beacon Hills on the Hudson River: ca 1852This painting is closely related in subject, composition, and style to Durand's Fishkill Mountains, New York, signed and dated 1856, owned by the Peabody Institute of the City of Baltimore. The Society's study probably dates to the same year.
Quoted From: Beacon Hills on the Hudson River | New-York Historical Society
The Hudson River School and the Idea of Recreation | Behind The Scenes Black Birches, Catskill Mountains: 1860 Black Mountains, from the Harbor Islands, Lake George: ca 1875 Butternut Tree at Hague, Lake George, New York: ca 1862 Catskill Clove, New York: 1864 Catskill Mountains: ca 1830 Clearing Up: 1854 Cows in a New Hampshire Landscape: Date Unknown Dance on the Battery in the Presence of Peter Stuyvesant: 1838Peter Stuyvesant Dover Plain, Dutchess County, New York: 1848In this gently lit, pastoral landscape, cows graze near a party of berry-pickers who have climbed a cluster of boulders. The panoramic view reveals distant fields, cultivated and bounded by rows of trees and forested areas. The standing figure, surveying the calm and peaceful vista, represents the optimistic future for the citizenry at mid-century.
Quoted From: Treasures to Go - Young America
Early Morning at Cold Spring: 1850 Gods Judgment Upon Gog: ca 1851-52Tales from the Easel: Nineteenth- and Twentieth-Century American Narrative Paintings, circa 1800-1950
An Essay by Dr. Charles Eldredge Group of Trees: 1855-57 Guard House, Catskill Mountains: ca 1850-57 Hudson River Landscape: Date Unknown Hudson River Looking toward the Catskills: 1847This painting is rendered on an unusually large scale and shows people fitting into a beautiful and benevolent environment. The graceful forms of the trees seem to offer protection to the participants and lead the eye of the viewer to the picturesque range of the Catskills. The foreground shows highly detailed studies of the local plant life. A friend of both Thomas Cole and James Fenimore Cooper, Asher B. Durand was a leader of the Hudson River School. A successful engraver, portrait and genre painter, Durand and several other artists traveled to Europe in 1840 to develop their skills as landscapists. On his return to the United States, Durand won immediate acceptance as an established talent. This painting is a magnificent example of Durand's landscape style shortly after his return from Europe.
Quoted From: Fenimore Art Museum | Hudson River Looking Toward the Catskills
Hudson River Scene: 1846 Hudson River Sketch: ca 1850-57 Ideal Head: A Suggestion from Life - 1836 In the Shade of the Old Oak Tree: Date Unknown Indian Rescue: 1846 Isaac Edrehi of Morocco: 1840 June Shower: 1854 Kaaterskill Clove: 1866The clove, a distinctive feature or "cleft" in the Catskills, was one of the places most painted by the Hudson River School artists. The rugged terrain of the clove was created by glacial action and the erosive forces of the streams that cut into its depths and cascade down its sides. Palenville, at the foot of the clove, became America's first art colony.Thomas Cole painted the clove from the top of Haines Falls, Asher Durand from nearby Santa Cruz Falls, and Sanford Gifford from near Poet's Ledge. Their paintings helped Americans form a sense of national identity. Here was a quality of nature wild, sublime, and distinctly different from anything known in Europe. The clove was of such importance to these painters that Durand chose it as the setting for the painting Kindred Spirits, his tribute to Thomas Cole with poet William Cullen Bryant. The area today is largely as it was in the 19th century due to its inclusion in the Catskill Forest Preserve."The peculiar fidelity and sentiment of nature with which Durand always depicts trees, is eloquently manifest. The aerial perspective, the gradations of light, the tints of foliage, the slope of the mountains - in a word, the whole scenic expression is harmonious, grand, tender and true." Henry T. Tuckerman, Book of the Artists; American Artist Life, 1867
Quoted From: HRSAT: Kaaterskill Clove
Lake George: Date Unknown Lake Scene in the Mountains: 1874 Landscape, Composition, Afternoon, In the Woods: 1847 Landscape, Composition, Forenoon: 1847 Landscape: 1866Asher B. Durand one of the greatest artists of Hudson River School Landscape Beyond the Tree: 1859 Landscape ca: 1855 Landscape Composition: In the Catskills: 1848 Landscape: Creek and Rocks: ca 1850-59 Landscape Scene from Thanatopsis: 1850Contrary to the popular conception of Durand and even to his own preferences as an artist of natural scenery, he painted the occasional narrative or literary landscape in the manner of his mentor Thomas Cole well into the 1850s, several years after Cole's death. This synthetic prospect evidently illustrates "the great tomb of Man" which Durand's friend, the poet William Cullen Bryant, identified as humankind's earthly domain in one of his earliest and best known works, "Thanatopsis" (Greek for "meditation on death"). The poem embraces the cycle of life and death that both raises humankind, high-born and low, from insensible matter and returns him and her to it. Barely noticeable in the foreground grove takes place an actual burial, but the wider scene of forest, field, ploughman, shepherd, mountain, and the river winding toward an infinite marine horizon betokens nature's persistent rhythms and may well hint at the deceased's eternal reward.
Quoted From: Asher B. Durand: Landscape-Scene from "Thanatopsis" The Metropolitan Museum of Art
Landscape with Beech Trees: ca 1845 The Beeches: 1845Initially titled "Landscape Composition," The Beeches originated in a plein-air study of beech and basswood trees that Durand made at an undetermined location probably not far from the banks of the Hudson River. Critics of the day distinguished the painting from the art of Durand's mentor, Thomas Cole, for its freedom from the narrative and allegorical freight that informed so many of Cole's pictures. In fact, the conception and vertical format of The Beeches distinctly reflect the suburban pastoral character and proportions of many works by the English master John Constable, whose paintings Durand had admired a few years earlier in London. Nonetheless, the warm, late-day glow of the prospect, suffusing the treetops at either side and highlighting the shepherd and his flock, resonates with the Italianate and French landscape antecedents that had marked most of Cole's production and would continue to affect Durand's work for several more years.
Quoted From: The Beeches - 1845 - The Metropolitan Museum of Art
Landscape with Figures Landscape with Birches: ca 1855 Monument Mountain, Berkshires: 1855-60 Mount Chocorua, New Hampshire: 1827 Mount Washington: 1855 Mountain Stream: ca 1848 Mountain Vista: Date Unknown Nature Study, Trees, Newburgh, N.Y. - 1849 Nature Study: A Birch Tree - ca 1860 Oerwesel on the Rhine: 1843Asher B. Durand was over 30 years old and the leading commercial engraver in the United States when he decided to become a painter. Accompanied by two other beginning American painters Durand traveled to Europe in 1840 to learn about high art.This painting of a German town, Oberwesel on the Rhine, resulted from that grand tour. Durand was later to argue that American artists should not bother to paint European scenery or to clutter up nature with historic ruins. He encouraged American artists to get their inspiration directly from the nature of their own experience, the American wilderness. Durand was a major painter in what became known as the Hudson River School.
Quoted From: Wichita Art Museum
Pastoral Landscape: 1866 Pastoral Landscape: Date Unknown Pastoral Scene: 1861 Peter Stuyvesand and the Trumpeter: 1836 Picnic in the Country: 1863 Portrait of the Artist's Wife and her Sister: 1834 Rocky Cliff: ca 1860One of the leaders of 19th-century landscape painting in America, Asher B. Durand shared with his fellow Hudson River artists a love of nature and a sense of pride in the new country's natural resources. His early works are typical in style to those of Thomas Cole and Frederic Church: large canvases that showcase panoramic views of the American landscape. Durand also excelled, however, at closely-observed studies of native flora and fauna. Trained as an engraver, the artist relished the almost scientific precision of these smaller-scale works. In Rocky Cliff, Durand trades the sky and misty mountain backgrounds of traditional Hudson River scenes for a close-up view of a wild lichen-covered outcropping topped by gnarled, twisted trees. The artist, however, communicates his wonder at the beauty and natural diversity of the scene just as easily with this intimate work as he had with earlier landscapes on a grander scale.
Quoted From: Reynolda House, Museum of Art
Roman Head: 1840This painting along with Durand's other "Head of a Roman" paintings were exhibited at the National Academy in 1842. This is one of eight studies of elderly Roman men painted by Durand in 1840-41, of which the society owns four.
Quoted From: Roman Head - New York Historical Society
Roman Head: ca 1840-41 Roman Head: ca 1840-41 Roman Head: ca 1840-41 Rural Landscape with Hay Wagon: ca 1860 Self-Portrait Self Portrait: ca 1830-33 Shandaken Range, Kingston: ca 1854Durand modeled the trees in the foreground of a Landscape signed and dated 1855, now owned by the Toledo Museum of Art, after the trees in this study.
Quoted From: Shandaken Range, Kingston, New York - New York Historical Society
Sketch in the Woods: ca 1854 Sorrento: 1841 Strawberrying: 1854 Study at Marbletown, Ulster County: ca 1845 Study for a Summer Afternoon: ca 1865Commissioned by Morris K. Jesup, the powerful railroad banker and first president of the American Museum of Natural History, Summer Afternoon reflects the taste of many of Durand's wealthy patrons, less for the naturalistic American woodland scenes he perfected, than for classic prospects. This one directs the eyes downstream at left to the lowering sun, which is set off spatially by the three grand elms at right sheltering a few cows that accessorize the middle distance. More generic than any of the other American landscapes in the Jesup collection, which was bequeathed to the Metropolitan in 1914, Summer Afternoon is nonetheless consistent with those other Jesup "chestnuts" of Hudson River School art: John Kensett's Lake George, Sanford Gifford's Gorge in the Mountains (Kauterskill Clove), Thomas Cole's Mountain Ford, Frederic Church's Parthenon, and Durand's own Beeches.
Quoted From: Summer Afternoon - The Metropolitan Museum of Art
Study from Nature, Stratton Notch, Vermont: 1853 Study from Nature Rocks and Trees in the Catskills, New York: ca 1856 Study in the Woods: 1853 Study of a Wood Interior: ca 1850 Woodland Interior: ca 1854 Summer on Lake George: Date Unknown Summer Stream: 1858 Sunday Morning: ca 1839 Sunday Morning: 1860 Sunset Souvenir of the Adirondacks: 1878 The Catskills: 1859This painting was commissioned by William T. Walters in 1858, when the 62-year-old Durand was at the height of his fame and technical skill. The vertical format of the composition was a trademark of the artist, allowing him to exploit the grandeur of the sycamore trees as a means of framing the expansive landscape beyond. Durand's approach to the "sublime landscape" was modeled on that of Thomas Cole (1801-48), founder of the Hudson River school of painting. The painters of this school explored the countryside of the eastern United States, particularly the Adirondack Mountains and the Catskills. Their paintings often reflect the Transcendental philosophy of Ralph Waldo Emerson (1803-82), who believed that all of nature bore testimony to a spiritual truth that could be understood through personal intuition.
Quoted From: The Catskills - The Walters Art Museum
The Durand Children: 1832John, Caroline, and Lucy M. Durand were the children of Asher B. Durand and his first wife, Lucy (Baldwin) Durand. According to a letter in the Durand Papers (Manuscript Division, New York Public Library), this group portrait was painted in the summer of 1832.
Quoted From: The Durand Children - New York Historical Society
The Morning of Life: 1840 The Evening of Life: 1840The National Academy Museum and School of Fine Arts The Fallen Monarch: Date Unknown The First Harvest in the Wilderness: 1855Asher B. Durand's composition depicts an expanse of rugged terrain and forests under stormy skies. This American wilderness yields to progress as a lone farmer reaps his first harvest in a field, still dotted with the stumps of recently cleared trees and gleaming under a sudden shaft of light that penetrates the heavy clouds. A boulder resting by the side of the road identifies our glorified pioneer by name as "Graham." Using funds bequeathed by one of its founders, Augustus Graham, the Museum commissioned Durand to paint this work in 1855, thus officially establishing its collection of American art. Durand's dramatic landscape pays tribute to Graham's efforts as a cultural pioneer.
Quoted From: Brooklyn Museum: American Art - The First Harvest in the Wilderness
The Indians Vespers: 1847Inside the White House - The White House Collection The Pedlar: 1836This work was painted for Luman Reed of New York. In a letter to his son John Durand, February 14, 1836: Preparatory figure sketches for this painting are in Durand's sketchbook, 1835-1836, also in the Society's collection, and in a sketchbook owned by the Metropolitan Museum of Art, given by Miss Frederic F. Durand.
Quoted From: The Pedlar (The Pedlar Displaying His Wares) - New York Historical Society
The Picnic: 1869 The Sketcher: 1870 The Solitary Oak: 1844Durand's original title for this painting was The Solitary Oak with the Old oak listed as a later designation.
Quoted From: The Solitary Oak (The Old Oak) - New York Historical Society
The Stranded Ship: 1844 The Trysting Tree: 1868Butler University - The Trysting Tree: 1868 Trees by the Brookside, Kingston, New York: ca 1846 View in the Catskills: 1844 View of Esopus Creek, Ulster County, New York: Date Unknown View of Rutland, Vermont: ca 1839-40Louvre, High, Crystal Bridges, and Terra Foundation Launch Multi-Year Collaboration Devoted to American Art View of the Shandaken Mountains, New York: 1853 View of the Shandaken Mountains: 1853 White Mountains Scenery, Franconia Notch, New Hampshire: 1857American Landscape Paintings from the Hudson River School Woodland Brook: 1859 Woodland Interior: ca 1855AMERICAN SCENERY: DIFFERENT VIEWS IN HUDSON RIVER SCHOOL PAINTING
On Loan from Westmoreland Museum of ArtAmerican Scenery features landscape paintings grouped by pairs or arranged in series so the viewer can see how different generations of Hudson River School artists interpreted the majestic American landscape. The Hudson River School, considered by many to be the first truly American school of painting, flourished between 1825 and 1875. The three generations of artists (71 in all) represented in the exhibition of 114 paintings are assembled from one private collection. According to Judith O'Toole, director of the Westmoreland Museum, "American Scenery's themes of changing seasons, times of day, and weather conditions, inspired artists to create different views. The artists of the Hudson River School shared an interest in portraying different views of the untamed American landscape as reflection of our unique national character, and as a way of communicating universal truths and philosophical concepts."
Quoted From: The Everhart Museum of Natural History
Woodland Landscape: 1854 Woodland Scene: ca 1850 Woodland Stream: Date Unknown
Related Source Material:
Asher B. Durand - The Athenaeum
Asher Brown Durand - Wikipedia
Asher B. Durand Online
The Hudson River School
|
||||||||
6840
|
dbpedia
|
3
| 57
|
https://paintingz.com/repro-autumn-in-the-catskills-thomas-cole-16865.html
|
en
|
Autumn in the Catskills
|
[
"https://paintingz.com/icon.svg",
"https://paintingz.com/static/version1692154858/frontend/Smartwave/porto_child/en_US/images/logo.svg",
"https://paintingz.com/media/wysiwyg/3844.jpg",
"https://paintingz.com/media/wysiwyg/3844.jpg",
"https://paintingz.com/media/wysiwyg/3844.jpg",
"https://paintingz.com/media/wysiwyg/3844.jpg",
"https://paintingz.com/media/catalog/nation/american.png",
"https://paintingz.com/media/catalog/nation/american.png",
"https://paintingz.com/media/catalog/nation/french.png",
"https://paintingz.com/media/catalog/nation/french.png",
"https://paintingz.com/media/catalog/nation/dutch.png",
"https://paintingz.com/media/catalog/nation/dutch.png",
"https://paintingz.com/media/catalog/nation/british.png",
"https://paintingz.com/media/catalog/nation/british.png",
"https://paintingz.com/media/catalog/nation/german.png",
"https://paintingz.com/media/catalog/nation/german.png",
"https://paintingz.com/media/catalog/nation/italian.png",
"https://paintingz.com/media/catalog/nation/italian.png",
"https://paintingz.com/media/catalog/nation/belgian.png",
"https://paintingz.com/media/catalog/nation/belgian.png",
"https://paintingz.com/media/catalog/nation/spanish.png",
"https://paintingz.com/media/catalog/nation/spanish.png",
"https://paintingz.com/media/catalog/nation/austrian.png",
"https://paintingz.com/media/catalog/nation/austrian.png",
"https://paintingz.com/media/catalog/nation/russian.png",
"https://paintingz.com/media/catalog/nation/russian.png",
"https://paintingz.com/media/catalog/nation/polish.png",
"https://paintingz.com/media/catalog/nation/polish.png",
"https://paintingz.com/media/catalog/nation/hungarian.png",
"https://paintingz.com/media/catalog/nation/hungarian.png",
"https://paintingz.com/media/catalog/nation/swedish.png",
"https://paintingz.com/media/catalog/nation/swedish.png",
"https://paintingz.com/media/catalog/nation/swiss.png",
"https://paintingz.com/media/catalog/nation/swiss.png",
"https://paintingz.com/images/facebook-96.png",
"https://paintingz.com/images/facebook-96.png",
"https://paintingz.com/images/twitter-96.png",
"https://paintingz.com/images/twitter-96.png",
"https://paintingz.com/images/pinterest-96.png",
"https://paintingz.com/images/pinterest-96.png",
"https://paintingz.com/images/instagram-96.png",
"https://paintingz.com/images/instagram-96.png",
"https://paintingz.com/images/youtube-96.png",
"https://paintingz.com/images/youtube-96.png",
"https://paintingz.com/images/linkedin-96.png",
"https://paintingz.com/images/linkedin-96.png",
"https://paintingz.com/media/catalog/product/cache/34bbb8696bc90914125c43a0ff3036af/1/6/16865.jpg",
"https://paintingz.com/media/catalog/product/cache/34bbb8696bc90914125c43a0ff3036af/1/6/16865.jpg",
"https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/16865.jpg",
"https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/16865.jpg",
"https://paintingz.com/images/repro-1.jpg",
"https://paintingz.com/images/repro-1.jpg",
"https://paintingz.com/images/repro-2.jpg",
"https://paintingz.com/images/repro-2.jpg",
"https://paintingz.com/images/repro-3.jpg",
"https://paintingz.com/images/repro-3.jpg",
"https://paintingz.com/images/repro-4.jpg",
"https://paintingz.com/images/repro-4.jpg",
"https://paintingz.com/images/repro-5.jpg",
"https://paintingz.com/images/repro-5.jpg",
"https://paintingz.com/images/repro-6.jpg",
"https://paintingz.com/images/repro-6.jpg",
"https://paintingz.com/images/repro-8.jpg",
"https://paintingz.com/images/repro-8.jpg",
"https://paintingz.com/images/repro-7.jpg",
"https://paintingz.com/images/repro-7.jpg",
"https://paintingz.com/images/repro_vi4.jpg",
"https://paintingz.com/images/repro_vi4.jpg",
"https://paintingz.com/images/repro_v2.jpg",
"https://paintingz.com/images/repro_v2.jpg",
"https://paintingz.com/images/repro_v1.jpg",
"https://paintingz.com/images/repro_v1.jpg",
"https://paintingz.com/images/repro_v3.jpg",
"https://paintingz.com/images/repro_v3.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Handmade recreation of Autumn in the Catskills by Thomas Cole starts from $189.31. Make sizes from 16 by 11" to very large, with artist-level oil on canvas and frame options.
|
en
|
https://paintingz.com/static/version1692154858/frontend/Smartwave/porto_child/en_US/Magento_Theme/favicon.ico
|
https://paintingz.com/repro-autumn-in-the-catskills-thomas-cole-16865.html
|
Autumn in the Catskills is a work by British artist Thomas Cole (1801 - 1848). It's one landscape oil on panel painting created in 1827. The painting is owned by Arnot Art Museum - Elmira (NY), and is accessible to the general public. Thomas Cole was influenced by American Landscape, Romanticism, and Hudson River School, and made most paintings about landscape and figure and tableau.
For faithful reproductions, our artists will study the oeuvre and techniques of Thomas Cole. The original painting of Autumn in the Catskills is about 10" wide and 7" high. You may customize the painting's size and frame, for décor or gifting, from 16" by 11" to size as huge as a wall. Our artists use oil on canvas by default. You may also request non-oil media. Covet a museum's antique frame? View wood carving frames or request a frame reproduction to go with your Autumn in the Catskills replica artwork.
|
|||||
6840
|
dbpedia
|
1
| 62
|
https://www.1stdibs.com/art/paintings/landscape-paintings/mary-josephine-walters-autumn-river-punt-reeds-mj-walters-american-1837-1883/id-a_13595262/
|
en
|
Mary Josephine Walters - Autumn River with Punt in the Reeds by M.J. Walters (American, 1837-1883)
|
[
"https://a.1stdibscdn.com/ann-sophia-towne-darrah-paintings-cattle-by-the-sea-c-1867-by-ann-sophia-towne-darrah-american-1819-1881-for-sale/a_21512/a_148193221721570446464/Darrah_Anne_Sophia_Towne_Cattle_by_the_Sea_1867_master.jpg",
"https://a.1stdibscdn.com/arthur-parton-paintings-autumn-on-the-hudson-river-by-arthur-parton-american-1842-1914-for-sale/a_21512/a_147831721720836304371/Parton_Arthur_Autumn_on_the_Hudson_updated_master.jpg",
"https://a.1stdibscdn.com/jervis-mcentee-1828-1891-american-paintings-mink-hollow-brook-by-hudson-river-artist-jervis-mcentee-american-1828-1891-for-sale/a_21512/a_132203921696870129004/McEntee_Jervis_Mink_Hollow_Brook_framed_master.jpg",
"https://a.1stdibscdn.com/otto-norquist-paintings-gordon-setter-in-a-landscape-by-otto-norquist-american-1859-1906-for-sale/a_21512/a_113844821670695812630/Norquist_Otto_Gordon_Setter_in_a_Landscape_framed_master.jpg",
"https://a.1stdibscdn.com/edward-delavan-nelson-paintings-catskill-mountains-landscape-by-edward-delavan-nelson-american-1821-1871-for-sale/a_21512/a_148264321721921077226/Nelson_Edward_Delavan_Catskill_Mountains_master.jpg",
"https://a.1stdibscdn.com/laura-woodward-paintings-camels-hump-vermont-1877-by-laura-woodward-american-1834-1926-for-sale/a_21512/a_135956221702329121157/Woodward_Laura_Camel_27s_Hump_VT_1877_framed_master.jpg",
"https://a.1stdibscdn.com/mary-josephine-walters-paintings-autumn-river-with-punt-in-the-reeds-by-mj-walters-american-1837-1883-for-sale/a_21512/a_135952621702327627998/WaltersMaryJosephine_AutumnRiverPunt_master.jpg",
"https://a.1stdibscdn.com/mary-josephine-walters-paintings-autumn-river-with-punt-in-the-reeds-by-mj-walters-american-1837-1883-for-sale-picture-2/a_21512/a_135952621702327648709/rsz_walters_josephine_autumnal_landscape_email_master.jpg",
"https://a.1stdibscdn.com/otto-norquist-paintings-gordon-setter-in-a-landscape-by-otto-norquist-american-1859-1906-for-sale/a_21512/a_113844821670695812630/Norquist_Otto_Gordon_Setter_in_a_Landscape_framed_master.jpg?width=240",
"https://a.1stdibscdn.com/ann-sophia-towne-darrah-paintings-cattle-by-the-sea-c-1867-by-ann-sophia-towne-darrah-american-1819-1881-for-sale/a_21512/a_148193221721570446464/Darrah_Anne_Sophia_Towne_Cattle_by_the_Sea_1867_master.jpg?width=240",
"https://a.1stdibscdn.com/arthur-parton-paintings-autumn-on-the-hudson-river-by-arthur-parton-american-1842-1914-for-sale/a_21512/a_147831721720836304371/Parton_Arthur_Autumn_on_the_Hudson_updated_master.jpg?width=240",
"https://a.1stdibscdn.com/jervis-mcentee-1828-1891-american-paintings-mink-hollow-brook-by-hudson-river-artist-jervis-mcentee-american-1828-1891-for-sale/a_21512/a_132203921696870129004/McEntee_Jervis_Mink_Hollow_Brook_framed_master.jpg?width=240",
"https://a.1stdibscdn.com/edward-delavan-nelson-paintings-catskill-mountains-landscape-by-edward-delavan-nelson-american-1821-1871-for-sale/a_21512/a_148264321721921077226/Nelson_Edward_Delavan_Catskill_Mountains_master.jpg?width=240",
"https://a.1stdibscdn.com/laura-woodward-paintings-camels-hump-vermont-1877-by-laura-woodward-american-1834-1926-for-sale/a_21512/a_135956221702329121157/Woodward_Laura_Camel_27s_Hump_VT_1877_framed_master.jpg?width=240",
"https://a.1stdibscdn.com/samuel-colman-1832-1920-american-paintings-tower-of-babel-colorado-canyon-oil-painting-by-samuel-colman-for-sale/a_24652/1699282465954/Colman_frame_master.jpg?width=240",
"https://a.1stdibscdn.com/henry-bacon-paintings-the-beekeepers-daughter-oil-painting-by-henry-bacon-for-sale-picture-2/a_24652/a_126676221689112641013/Beekeepers_Daughter_frame_master.jpg?width=240",
"https://a.1stdibscdn.com/william-rickarby-miller-paintings-the-rapelyse-homestead-bowery-bay-long-island-for-sale/a_119/1667056987833/Miller_WR_The_Rapelyse_Homestead_Bowery_Bag_Long_Island_1877_master.jpg?width=240",
"https://a.1stdibscdn.com/ralph-albert-blakelock-paintings-indian-encampment-for-sale/a_119/1676401394000/Blakelock_Indian_Encampment_NBI_2198_11__master.jpg?width=240",
"https://a.1stdibscdn.com/john-frederick-kensett-1816-1872-american-paintings-new-england-coastal-scene-with-figures-for-sale/a_119/1677610259350/Kensett_New_England_Coast_master.jpg?width=240",
"https://a.1stdibscdn.com/jasper-francis-cropsey-1823-1900-american-paintings-niagara-falls-with-view-of-clifton-house-for-sale/a_119/1671723408552/Cropsey_Niagara_Falls_with_View_of_Clifton_House_1852_master.jpg?width=240"
] |
[] |
[] |
[
""
] | null |
[] | null |
For Sale on 1stDibs - Autumn River with Punt in the Reeds by M.J. Walters (American, 1837-1883), Canvas, Oil Paint by Mary Josephine Walters. Offered by Hawthorne Fine Art.
|
en
|
1stDibs.com
|
https://www.1stdibs.com/art/paintings/landscape-paintings/mary-josephine-walters-autumn-river-punt-reeds-mj-walters-american-1837-1883/id-a_13595262/
| ||||||
6840
|
dbpedia
|
1
| 74
|
https://nbmaa.org/exhibitions/poetry-of-nature
|
en
|
The Poetry of Nature: Hudson River School Landscapes from the…
|
[
"https://nbmaa.org/images/exhibitions/1910_11_AutumnWoods_Bierstadt.png",
"https://nbmaa.org/images/ct-art-trail-logo.png"
] |
[
"//www.youtube.com/embed/1evlDAN3rak",
"//www.youtube.com/embed/pFUp-W99Xsg",
"//www.youtube.com/embed/mMMNF4K7W9k",
"//www.youtube.com/embed/Q4wlc4S9rSg",
"//www.youtube.com/embed/ZZiZI1EZbYo",
"//www.youtube.com/embed/6GaYynWwI6Y",
"//www.youtube.com/embed/N0ND-v_8fYQ"
] |
[] |
[
""
] | null |
[] | null |
A stunning array of over 40 paintings created between 1818 and 1886, The Poetry of Nature illustrates America’s scenic splendor as seen through the eyes…
|
en
|
/favicon.ico
|
NBMAA
|
https://nbmaa.org/exhibitions/poetry-of-nature
|
A stunning array of over 40 paintings created between 1818 and 1886, The Poetry of Nature illustrates America’s scenic splendor as seen through the eyes of over 25 leading Hudson River School artists, including Thomas Cole, Asher B. Durand, John F. Kensett, Albert Bierstadt, as well as lesser-known but important artists Josephine Walters, Christopher Pearse Cranch, and Louisa Davis Minot, among others. Its display at the NBMAA will include the addition of works by Robert S. Duncanson, the first Black artist of the Hudson River School to gain international acclaim. Drawn from the collection of the New-York Historical Society, the exhibition explores the exchange of influence among this group of artists, their favored sketching grounds, and the legacy of Hudson River School painting today.
"We are honored to showcase this spectacular group of Hudson River School masterworks from the New-York Historical Society’s preeminent collection," said Dona Cassella, Chair of the Board of Trustees and Interim Director. "The Poetry of Nature beautifully complements and expands upon our own celebrated collection of 19th-century landscape paintings. Held concurrent to the Bicentennial of Frederic Law Olmsted’s birth, the exhibition will provide a timely opportunity to explore how artists and landscape architects have depicted and shaped the land throughout American history."
The Hudson River School rose to eminence in New York during the first half of the nineteenth century. The growing number of crowded industrial cities in the East gave rise to an appreciation for pictures of the landscape untouched by man. This closely-knit group of artists, together with like-minded poets and writers, forged a self-consciously “American” landscape vision and literary voice. Both were grounded in the exploration of the natural world as a rouse for spiritual renewal and as an expression of cultural and national identity. The Hudson River and the varied scenery along its banks provided the subjects for many of their landscape paintings. The Poetry of Nature looks in-depth at depictions of the Northeast and New England.
In the context of this exhibition, the NBMAA will highlight contemporary perspectives on land use, the environment, and landscape painting in America through related programming, and by welcoming contemporary artists and scholars to reflect upon the legacy of the Hudson River School and what it means within our world today. Additionally, the exhibition will take place concurrent to the Bicentennial of Frederick Law Olmsted’s birth (April 2022), and will provide a rich platform for programming that will further explore how artists and landscape architects depicted and shaped the American landscape in the 1800s.
The New Britain Museum of American Art’s Hudson River School holdings are rich and beloved by members and visitors alike. The Poetry of Nature will be complemented by highlights in the Henry and Sharon Martin Gallery such as Thomas Cole The Cove, Catskills; Frederic Edwin Church West Rock, New Haven, and Asher Brown Durand’s Sunday Morning.
The exhibition has been organized by the New-York Historical Society, which features one of the most renowned collections of Hudson River School paintings. Dr. Linda S. Ferber, the director emerita of New-York Historical’s Museum and a leading authority on Hudson River School artists, is the curator for this extraordinary exhibition.
About the New-York Historical Society
New York City’s first museum, the New-York Historical Society Museum & Library was founded in 1804. The Patricia D. Klingenstein Library—one of the most distinguished in the nation—fosters research through its outstanding collections, which include more than 10 million items. The Museum presents groundbreaking history and art exhibitions as well as public programs that convey the stories of New York and the nation’s diverse populations to the broadest possible public. Learn more at nyhistory.org.
JOIN US FOR THE MEMBER'S OPENING
January 27, 5:30-8 p.m.
In lieu of a traditional exhibition opening celebration, we would like to welcome all Museum Members to have early access to the show on Thursday, January 27, 5:30 p.m. to 8 p.m. There will be no formal remarks or refreshments this time around as we navigate the current COVID spike.
Please stop by the Museum on the 27th to enjoy a self-guided viewing of the show.
Related Programming will support learning about the importance of environmental stewardship, ecology, and access to land. Health, wellness, nature.
KEYNOTE | Betsy Kornhauser
January 30, 3 p.m.
LECTURE | Catharine Rogers Distinguished Lecturer Charles Button Climate Change Update
Thursday, February 10, 6-7 p.m.
AMERICAN EDEN | Victoria Johnson on David Hosack, Nature, and Art in the Garden of the Early Republic
February 27, 3 p.m.
LECTURE | Charles Button on Connecticut Agriculture
Thursday, March 10, 6-7 p.m.
DOCENT-LED GALLERY TALK - ARTISTS & WRITERS | Poetry in Nature: The Hudson River School Artists and Nineteenth Century American Writers
March 16, April 6, May 11 at 1 p.m. (note: some of these dates have sold out)
Docent Carol Lacoss will show the ways painters and writers used images of nature to create an artistic vision of nineteenth century America.
Register here.
LECTURE | Old Objects and New Audiences: The Hudson River School Today with William Coleman
March 20, 3 p.m.
Hudson Talbott Reading and Book Signing
Tuesday, April 12
A Day of Learning/Symposium | The Olmsted Legacy
April 20
Annotated Resource List About Frederick Law Olmsted and the Olmsted Legacy
FILM | Frederick Law Olmsted: Designing America
April 22, 1 p.m.
Register here.
Artful Science Experience | Landscape Art as Science with Linda Tomasso
May 1, 3 p.m.
Register here.
WELLNESS PROGRAMS
• Presentations by New Britain ROOTS on Gardening, Soil Testing, Seed Saving, and Healthy Cooking
• Virtual Slow Art
ADULT STUDIO CLASSES
• Plein Air Painting Workshops
• Sculpture and Sketching in Walnut Hill Park
• From the Earth: Working with Clay
• Landscape Collage: The Poetry of Spring Garden
• Landscape and Nature Prints | Monotype Workshop with Kasey Ramirez
FOR FAMILIES
• Family Guides
• April vacation programs
• April 16 - Family Earth and Arts Festival
• Studio@4 classes
TOURS:
Docent-Led Highlight Tours
Weekly: Sundays 1 p.m., select Thursdays 6 p.m.
Featured Press
Awakening the Senses: Hudson River School landscapes captivate in a traveling exhibition on view now at the New Britain Museum of American Art
American Fine Art Magazine, March/April 2022 Edition pdf
10 events to visit in Connecticut this March
By Paul Joseph, New England Magazine, February 22, 2022
Intimate, expressive: Hudson River School shows elegiac, poetic touch in New Britain
By Tracey O'Shaughnessy, Republican-American, February 19, 2022
Things to do in Connecticut this week (Jan. 27–Feb. 2)
By Patricia LaPietra, Connecticut Magazine, January 26, 2022
Hudson River School Landscapes On View Alongside Frederick Law Olmsted Bicentennial Events Art Fix Daily, January 18, 2022
|
||||
6840
|
dbpedia
|
2
| 21
|
https://www.purelytravel.co.uk/baltimore
|
en
|
Baltimore
|
[
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/PurelyLogosWhite-02-1920w.png?Expires=1726943319&Signature=PVO9Hnes41llDWoL3-7LORbevMQxFyFADk6O7HLc52B2Ic0dUrs2D0eQSu95yY-CO~bND1lFE7ncTNfJ6t-oAlqxY7g1GgZWPbm~KEhCWJLKuUYvI0xQsR5JAtBd07DTkCFWOPw752VsW-SCD1AdkZM9-CNFnik99ArsOvo1UDNjA03Oe-wvU7K5KAu4-qclYTYU5coiv6xDpbdw8BdJCE-1gDyYNd7JCYIW5bTrdaknvudcwbN~LTEv2D-8UJVCGkWp9Ui9QDhzboeYs6bsZRlruYjA4bs3gYn6jxUzmiSY-tvzwPoyYJH5ydnzKdOCUStLhTVrZmYbZgUlWSuGBg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_fleet_week_skyline_2016_4-1920w.jpg?Expires=1726943319&Signature=Dhia4knZzlo4sxwHzuwxJHTLKw-Nuydl5w5I8IzOTo7YB6S~uuuvPZjDQNDdY8x0HS0HN-5XXJnWptlpTVD3ypMUFrWO-TlgWVSCM-u6bGI2bqCKkS9HF3CmUlKpTE0S-K~t0jbrxJnmUp~eh4oghbaJCIqEH8SDTEGc7ZP1ulvNSpK6w0sWXJSHTNUt8NT0j2heY4QnDxjZ9XVKMNPXY6p3bdsH71yH2GPLaqdf3kCzmSHsdrfbFBTx6RnZzM3sQ1kGbHHyYl8ypuJ8Q5w38e-hk4VA7SNbDEmK8kBplpsA-qlOHWlOrrr37q4Zn~hVwvWlRoAWarG4Mkiiuu75NQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_federal_hill_park_2015_4-ab73eb7e-1920w.jpg?Expires=1726943319&Signature=VfEVhrGVcnReiIRkCCQE3vAeEA7GNow-iu3AH6RZH0zIAariwYVbK~4TlEHJyRbV9kcpi2zx4awoKN6d3koZRyIYfPOP45D6zDG1SLx3HQKLTtnRT0pKVOelsKsBrrQHCYIGa4Md0u9ZW~~bxDaF7steG7j7yDpbUURSdCa8hxzxtCo7N9pmLqaPQT96z2E0pTvmvzVMDNovEDdIACTiIBJjpliaJRAedGb7wFCtxCRwi2l0WAgcYWhC-cqK5kteVax0jhZqDLGV7XCMrUwwThH~PUO~Rjcm9yxvlB2s8l7kr3bR~RBHjbPhMiM1uyWKMjFxw9B8gWPiAeGiHH9gCA__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/atoltransparentwhite100x100-1920w.png?Expires=1726943319&Signature=D1JrRXuOnOVREmg~3SArl8kuhKFOMA5sQpoL1qNhupZFdGWkopTPHbRitfq~DjMyYZAlmRtYMzEr6RQ1i8n9YkdH1oPL62G6P9CQv0Z1f3t7rfeig~DA~Gnpgmg0MfnaV0EAY3jTXWgpMrc10smUN3ZNdVlRC4Iobemp2V-87TE3bwoXlspT2pld33f6yCofEmLEEYeLci2BU0tjpxuQcdyxFY5TUir84QBSLLbsgaf35PLycLqGdkwFFClCCvuVSWKhFG~m2Lp0XW52XaqFXM8pOlZPMkNvl6TZhuHklQTUpzY91ZtaFSrm2~AwICovZd0ndzuZzcgL38ZoyugnuQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Mt+Vernon-1920w.jpeg?Expires=1726943319&Signature=Bt3TiyxcIL-yEEsDjaGs3w~z8H~eloE6PyImbyHZP-tS5fz-tM9ds~f6xQkpmxfR0Gre6BfjJQvaVmNzSXVtxpbt9tQX75R-DCAIlxz3ax6dA1YkqCpoWmVgZuvOVwoYWZ0U57INKod7rdwMap7HvqAoEHDhSstnsN0~ONGFxcSauMLnqFVJF2mY4zxajIQpo72hkcmDsslFiH4k1QZuaEm3dfNCwo67aybqNPsjIBjde9RV5ZASdoauZtjnYW66iW3Sf4JLWOUHvM91WmW8-nj02XDnxKnaVUwHTMfavI~UdbZ6y1h3cm5jqX-QG6ewfF39Tqf5VykSDdXXljPo9g__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Fells+point-1920w.jpg?Expires=1726943319&Signature=I-IEjsouM6gYeS7w6P51b0G5U6lVxaLLfCybKcQIjtElgjOlvnNLHCGOtYqLszJMVvfJ-FLsq8oG4bmdCpKqJbase0BTtwzrBe-GAeRHnEanM8qLY3YBOr3bbe1ao-di4E~rj2U-hxw1DykLHJpYy-yrp1EIhGXyAB5uNAz0ujum5aV48MC1ypGWqD72yDtRdu2btP-eA3mkprIAWve7UwrNjHA32I86jMpchKWFewPgaVBY4kazyvy8Ase9J-Lql0vZZj2~86w2WSt5YSx1ONYuBACOAf-V2ul3fcuwlqBLpVCmSwyUhrOGuWo3xrHyWJDoBZIp1-DtOU~2WrL7qA__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_fleet_week_skyline_2016_4-74caeaf7-1920w.jpg?Expires=1726943319&Signature=o4mgCI1rJ~lhIDgA0S10XS1eaXyA5x7xMN6R6sMgsTcdhPNOIa~iTjMmjTHlapsr28e5aY5Fn7taVzrvqFGFm4xvaC~FkiVPgvKQ3LN7cWPjvdUNLGNSNaC6zg-cOIaRXlkKL4DV5Kae-sRFB9FsCxhKQjYPQrgY7bYD8OyrOGoaOEcNvdH~nVZQT0LRK5NXLJwIHhx8vMsV0x-DqNHvzSw5T4cdfWuYnP~gxYk9w3lJPXTHf9I7mbeZ6C-xrjTAwG-PB0YAj5hEhDPGHGK0KUWQ~YwAuHZ-ft0QEFmhFTDfDWYeG9CAF0qzBcQg0SQ2ApCIulbPA0JRq5j3-oLSQg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Little+Italy+Baltimore-1920w.jpg?Expires=1726943319&Signature=Scw1zUvjCRk3y2VZkRsHrpc72pyAFHYl2L17Mvq1sGxM13bRWGeuk3RdhbpdGwiMjLAWBzppLTRZ74sENoopL4eZgC16mMe0-LWA5gTc~EaqBxpaX1ilnIHtI1X9t5BnHrJmt9Y0LNe1LHVCEO~Ibo3dMpvktUp1gtnr9SioiAIENjFLrnqUVoIVSs4IyZufexpdyE5eLndAPGOu6LSHyRkwJB8qPJHu7PSHQ-YcGGTfghXMl6m8f~WdzmvQgAPbi2WPV0eFwD0Ax-Lkt7JTn0AEr1qeA8xx8u0hpMX8YOCZonxjSh8EN8PgkOBT7vx0I5dwvkYoQJ4SQ5s5QS9vEQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Druid+Hill+Park-1920w.jpg?Expires=1726943319&Signature=st1DXbplFA7dGAmqxxuzxgKU4DRkHNJF5YlSZQ6nfn84MIuIs1hglLJ-LxDLGf2maHV87EWSQXqmrMidkqfh50ifiiMOXz9sEsS1GFTqZftdqQ8RSnC0eIju0BduHgGTxrhMJu~~IopuSVAWnjpZOHM3xZy1odib-JrJbIfJiH7fmd-4nj1zxtdMiElLjbb8HQgnJmNHg-ZevIbXu-ZtuhAql~2Owf8iwx9V6UmwWX5-9-d1meM66UjbbucXdrOJfXjN62leJiCz07UKstHcGxSQKK6gCxy9fFFaba5skUdRONLKOxyYLoXJEqX7ndZKJK3KcMl8Kej2FCzkYi5Aeg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Ferderal+Hill+Baltimore-1920w.jpg?Expires=1726943319&Signature=OwTLoHhw9OjtA2akqizAzYw7GV3KqLYwC6-XQmN0av4PDAKb771AsMogEtzaUABKxF5LSEn7sgP66tp3WYm9UZn3RXPnqevsBzl5Eok-PDkZx81cU99WeHIYQfLHnYjSHNxU6cHAYRPiOY89RqaD4auvR4-965eKRaX9t1yO5CuB25~4kdmRW0jsMIMtcLUJcwEAQ6lWv~N9flk8iDXjsoMpSXw9E7zwZmTQ7qYtrLhDNPU9~swYbj86yjYw0slf4-GBlUoaoyFn81Ypr9D9WZNKs9U2nVI5bfGIBflsziUlac6UFyx3738Sq5g1Yu7nsx8aY5AtZNJij0a37LW~Dg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/black+arts-1920w.jpg?Expires=1726943319&Signature=PaQo0wCAY9fZ6wOO9tBqzuhbYy28KXMWcl-LV2eTr6D9nc63bYS16OY7sImv9XCno2rx0riMllgTbJnVYzz7Lwqd7WR8G0yxhV08-7ByXso1UcANUzcPYuvRIfFirtSjktW8~Fq~pTy~fa8PSzzTWvyrtUXmUqH35Ot8sbjuQxgz3D-8BrBr3lrttRiOfrLMF5MpW2Lk0KxsuEwDNzfyHZmyPujJDMjFSwHVrICr4EJQH1Ho8sUMpowTsxFGBjQfYM4KPQbJ6ewWoo4Uu3n0quX069ACCN-BTAatkQ7Tvjg6X4-PG-Ns3rHEDQ5PVktYfc18C-ZcFazhdr~JjmJY6A__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/sation+north-1920w.jpg?Expires=1726943319&Signature=craqxtfiQ295KrDUsEZuOUL0dsTrjr-iT6IaVJ48AmvsocZ6tzCSIPDQ6Je08K1pBI0FXejZrAtr3wUKx9aOVBg1K94QyiFcWQxingPBWCRFEvSJcEsTJOPUas2mD7Xa8z5BSENutv24LIKuv7ueq5zBOryZa1hVN50-nB-YNwCXCo0r45u87fCQoiiY49gMzvRzobzM3RZjsD4ykSgJQrPiFk9wE2Fy82vqod3Fk9jnxTMZpxUPgSSnCWP7WH7~THRbqyVFAvPCvvFxxCLTYQPoqKxu0I6cZXG1SQlC56K~vZTtYezLD4FU03S9MvH71JmtHb0QXCNVJCe~HNJZFQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/hamilton-1920w.jpeg?Expires=1726943319&Signature=IeyeUBZX~rhAKs7C4QpkbETti0CB-bQtYnLMY4JQlwPy4CgS3MO1HAtjA4pVdCmpncDkwUHVRV7R-4m-8asPp099K7VdyI3qpf5Kb~MHJs6TSbIF04ZciWDpDaMcUpObnqv6ZVcwwG2jVNCXpfg~x4BxlIr2k0zT4fhq0bR2VCDcDx5hH-HnaqGYU97DPMzPnTl3AIFiIEQZe4C~bX~U991ommjSqfrU~9-VnNINsgdnaKhXrqKQCmvH-fJvoKuV-ewzOoh2hBiIho6ap7bqEU-kUuqe0eVP0pI5CsdkIjpkPH-dA~BZuTBXbE~cvo143GRTAcxWW7Pvh1pcoLyfZA__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Hampden-1920w.jpg?Expires=1726943319&Signature=Szj4a6gFcoFrSaBW1-finpfmLdhEqJ9w0ptP3bO~Inim013ZZ0~ENbQBotDtToNgAaDc1bxmI9Ec~WT47Vwf2D00UlTcXQXhLy43tcIOqK~H71sFBd0jInlXPrT-MtwfCXFkGWszVBJDBrVWaSRKwZm0pQ8nuoUpyhzUiwptv-ikWStLwl1tavFqr8Uq9NavuWWwofxG~HcorK9ShTbJchhOuW5IrLAcEHZGjPo3ImuCZGD4NXCp54A55mvr5-qyicyK4D-rb1zoTe1pPVPecnksEaZ9s6LXj3YQuYHza95VpKNbyaVYgIJnw-hftS7ZpFhY~d14JBIrXeapVXrlsQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_harborplace_2015_.3-1920w.jpg?Expires=1726943319&Signature=U1E0GiQIU0KGeOO4SjUBcTJpB4uG2VKAjw875bnlvQuMdUnwd-ajmEgtamaehf85eRRIh0JM9So5ntUR4ayYN5QsQDgDo821D6wlr9ZISoYBkwQgSWRXb5IsfesyoauHXIcrZFsFSuJzhztsFQ3ZTC1ax1r~fovKCBW36UauHoDeemEu3hMRbZ9TiHT~qInjmlb9i~6ivMKYa-SEyvhMYM5Sf8qkqCHAWhHIe~0cvbAm2Oqu4gjk9PN6ehUPOe~fkXDO1izjMiKXBXjA5wPajc9SJ9AmvO0fCzFvX8r7A3bEPfjqVOcarD~FebMBCf0vl-yAx85V~hBUINmW3gxRMw__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_AVAM_icarus_2009-1920w.jpg?Expires=1726943319&Signature=R1a8TDPHtPwsP8aaoAV3sh9KOqV2-oNdvgCyxGjmoI3zE3sgorgHfO9PtL0lkwiij40N655v7PkDXSn0WUTjky6VPtuyAvPfTaOtvNvkuLxEKH~J6yeEImd0y3dIxIWxCqAc1NSNNMY01TStQ5uyh6bjc5QyZHAbVSN2k9YRJsd1N-pj1gB6LY02t4PCocpaWxigRLp1z3fn3diIPnFNvuzWqmRivGg8VKvXplS-el-w~IY0L256KuZnDgZRgbE6SoJ613z1XITqBDSb2mcakbN2bX96CgtApdUSZG5jFlQWmjwyAuHJqrPRF0fP37JV~Vgv1S3Q1EmXCtrSQaSyPA__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/fort_mchenry+monuments-1920w.jpg?Expires=1726943319&Signature=M4GcmfkF0d77pgdACF4PX4kiZeh~c8Zr~1xL5f9hEG0edstb2o1zDQTzHpM0xTmqJ6~uWL8OAszIo11u53WvpkR5Mx4ijfpRKlOSlr3wFjZIBFN231JD9OUF9P7qORFLl5O2s02AhUPDiot8gO~IO3o1rj0g~OiLZgbQo7WfLydXFfPzYFBJRAEMuu80pxxGl22g5pSv2imfViDST7w6CqP7PfFnPWBnl0ZbkjIFTLUQV0uGtTc-pUfHhoob5SnxPxJDCoianDfjJBK2t2wdpk1oZM26eP9S-60BCkHF1Qw4wbVBeCprwAIIxzveoCmEwshpfqGowhkdWFjvMyOyuQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_ppl_2015_2-1920w.jpg?Expires=1726943319&Signature=ZRN-yLHHZcsyfj8HxZUpSaLbWQrjkvxwJKno3bc0zGEc2e23giL8jLL99L7U~sxFucmavsrrQJW0drhi2LJbodReM7GeanmtCITvJIQPuOjSH4eA7QMyRPOrcOvW2H3td5R7dtQ-IQnWu3s3f~KeY1~HoxwnVOAMwac8b6f4a6DU-M4o4ZcK8jeV-QlrHVDc0vrFNMgydzkFgXFuU7wmfnqF-SAbh9AE0NJluAgFsyId2AqLrKmK3JaMHzJkNYApMMo1On9I1ugR8jUtIKn5QqtnYoIlgaC4AUFvwojnANPqyREZ28kZnpUofenPwEQOHSWqNT2TOkAJj6nWKE9zzg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_camden_yards+Sports-1920w.jpg?Expires=1726943319&Signature=GRq9H~alx5chRZgJy-WtL2iVd69sH2hVhrqLdMP0VLXO26NbOOxKwDBryTQZDjORmHALsgvFpLF0iQqnSj1ciBU7EbzrgE47nivhlBP8Hi5062BcIPcBNCTr~z0XkvGtMD738pavc70ovynFt1qCbYBDxCWovNioR7EDvprLXgv0bQP0tBPaDP-~23zr56Hga91A9rRX8tcyUmEcGudBlc~OVe~lLXPzoHNfmRMWEVsk3lPyy7x1gujGNDU31w17-QsbiJFW-l3qahIT-ae~IuSCnjq7JrFffJ~f0JDI8GMLww42Jq~5GprhpzZJRfVBpVtvpxtz~18OhHw9X8joOg__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Baltimore+Food-1920w.jpeg?Expires=1726943319&Signature=gq1wwJE~BaP-s1gEAnuUXSZ1NYqx5AiKvHyXRWnQltqvK40U-MYNBTE9d315kRlt2-se2yFEWv0XyyoX27ws09Y-Jtt0rh6tk7UQlcu0O5eMK7lI6OONcQkzaug2M2U1tcL4jgG6pmIdw2W7g3jMd0MxBpuWqJGVK4rjNpIDQtnkEEQ1~ePfl71QqMRXqWoZhiG1-DXw2-NeQNqCYHs305M9tHGjudYEWiYFgn8dx079pm4q4xA941UTCcgBlKtaVU9qQWfY-l9eOUGcq6Tn1PyxCYvSi0JrTzxz1-gvsygHEo9493q0cdBfzJBT~XeS9PDhJxnVn1LzXCUZmvQ5ZQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/VISIT_BALTIMORE_downtown_view_2014_1-1920w.jpg?Expires=1726943319&Signature=dVN9tWg2AMQt-1DLRE9PKNRQwPHgv7XMp58y34-MN4cvcIxxfcAfR0NA6IeTS44qg4bttWRSrRXyviLeJgQo8uxMEODH2Oiy4mygtwzCBCna735rUAQtY7pffQRuDV00UOfiSfgW6CmkJwf2YG7lhOoahf0NkNNu9il8sIIpfRMivaF3QbAmwESc2YyT37YtFwaLmxKlFnv-4U6PG3xmfJ4MqIrXk4Km8-4-hw6CF2pgAe4nzWY~slgHkKDImAIojViI1-KB3c4ud9zgtXvCp81fQaHksYAqYv1wAX4cnsNL76M6POqqZF94kK8NBBqiyU~lrUxLCczA4TV6ogOJgQ__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/visit+baltimore-1920w.jpg?Expires=1726943319&Signature=Z2D2a8GHOXKTPu10Sr1rE1p92SXo0oN2EDviGK2m-gE5FN709j~mq1mgmjtmkcsmN40De227i2M2qTRETS2icGoNZgdGZHxItMDD0VUgKjkAAl4KPGLhcTCJPQWczKsrzUtt7OIc5mvNzLVqjqu4Sdpi8Kbgas-LjRDF1c4MsWvuD1YvIZ13Y5A4PAqxOIAgm0kKvlQw-58pYCUicd0eww59jRahQpt796LjVsqDQIxfs0nxieXiq1hykrIuzQS9GuMS2Txr3iepFzyv-GobvmMtrhUlcrcqveBOq0m-HE2uq8DH1-h2MMPWbIReCY2tJeLsOqni4KgNlPnKrw8wPw__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/CRUSA_logo_stacked_CMYK-1920w.jpg?Expires=1726943319&Signature=YHkmd6QaVGWtQ13BdDGkJWJT3bPieM3TuNrLJ2dvOXZEFJYNdlYQ8UjTzHk~K-K6Sf5aYCp4KZHBmn1JCRbMvaNTATTNlNNH7t-uq~quWytzI9shXo54gIG9oOxvFUhh~~IVByY79bDOveRzwSYe-he7p4g6ZHtZ05WlChlUVwySF~6EAxuT2gxBo54ZamKQR62~KOv-hwXFkBYXt5AJjAtU~3Ky1uql9SLIMKSErsoBCm8MPuxTugO-cEhdX~XolXzwcIRWYD1bPzp6IBY-tWT3Idd~eGL2EIwiGJ5uNbUmEghBsacgT-JKtOLMzgTsD-nLSkEKmiiAo-uLMu3A9g__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/purely-capital-1920w.jpg?Expires=1726943319&Signature=rrxtpJs7fcPG4g96wHjEmFJHD5OQBUhaGpDY0jAmfZw2cyvHKB4EqDUwjIU8YIWPabkRejgwsyRc5Zb7Azvq0WIyHJyPliuTUCmjfy06PaBHnozwpaCKRp-~0hpU9Bnj53sRn1bzIBr0VE~HjGFTp2tOl7PIDvrDeQJx9N7WI2OuujDegeR9RtZ0tiA2ov4WoQky3SoslRcHsP20D8Q9TexMYBU5GHX247EJEYaCDNF70~y8~k5l12mzrdXPeEUUPBA6bT2Kgkxtp8zwqfQPyH7vmT67fSbGjnz~Ql~F6wbY4L8UdbNxRNN8bJqori-bo4blpas8z-bDkFbkAIEdew__&Key-Pair-Id=K2NXBXLF010TJW",
"https://le-cdn.website-editor.net/s/30dd538023604315a380c1b82ee599b1/dms3rep/multi/opt/Purely+America-1920w.jpg?Expires=1726943319&Signature=U2GRBa~k-G7492loWSDmsr1444QHXzqQYhoQE6ez8o~bSnCKg0H-rYiF40Fh77bUP~eK50t8KWiOG~aeiTdJ1kZiCwsfIo4vsa2mTlVAxn8nxNV0J34~yisH2YtTgR23Ytg6NA~C8ZYs9t-2oWMussj9SS8exPaiiibF8vvYc~Vj7I8ujJX~gY--Z3d75bSbw~0CLavmmw7Y2YwDwxC0yNBHmuQ~KZCHQWl0wY1k8wE99dBkVDsDAgvcNPJ~nHqj4LOCZw3R~9kcJTuANW9eqPvYqEFaRogtQHefPtHeU5FqVAuEOQuJesZ2ae6ZsytRFxZH9u575oDST-uQeCq~3w__&Key-Pair-Id=K2NXBXLF010TJW"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://www.purelytravel.co.uk/baltimore
|
Inner Harbor
The Inner Harbor has everything from scenic waterfront views to spectacular museums.
The Inner Harbor is rimmed with beloved museums. One of the leading favorites for locals and visitors alike is the National Aquarium, where you can see 20,000 different animals in award-winning habitats, including a tropical rainforest and an Australian river gorge.
Interested in maritime history? Docked along the edges of the Inner Harbor are the Historic Ships In Baltimore’s floating museums. Take a tour of the U.S.S. Constellation, built in 1854 by the U.S. Navy and now holding court as the only surviving ship from the Civil War. Nearby, find three additional ships and a lighthouse that all detail marine experiences between the mid-1800s and the 1980s.
Got a budding scientist on your hands? Across the harbor from the Aquarium sits the Maryland Science Center, where three floors of science-focused demonstrations thrill kids and grown-ups alike. Hands-on exhibits explore the solar system, the human body and more.
An especially family-friendly neighborhood, the Inner Harbor is home to the Port Discovery Children’s Museum, ranked among the nation’s best. This playful museum tucks a world of fun into a former fish market building. Let little ones explore the four-story SkyClimber, or play pretend on the life-sized cargo ship.
If you’re more into modern-day adventures, try a tour with Hornblower Cruises or Cruises on the Bay by Watermark, or catch the view from the Baltimore Water Taxi or a Chessie Dragon Paddle Boat.
As one of Baltimore’s entertainment centers, the Inner Harbor has plenty of options for live music. Head to Power Plant Live! for an all-in-one hot spot for restaurants, bars and music venues, including Rams Head Live. Nearby MECU Pavilion also offers outdoor concerts from national names right on the water during warm summer months.
|
|||||||
6840
|
dbpedia
|
0
| 18
|
https://m.facebook.com/groups/630255120319576/posts/7199595240052165/
|
en
|
Facebook
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
| null | |||||||
6840
|
dbpedia
|
1
| 0
|
https://art.thewalters.org/detail/19883/the-catskills/
|
en
|
The Walters Art Museum
|
[
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/ico-search.svg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/walters-logo-white.svg",
"https://art.thewalters.org/images/art/PS1_37.122_Fnt_DD_T09.jpg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png",
"https://art.thewalters.org/images/art/PS1_37.122_FntCc_DD_T09.jpg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png",
"https://art.thewalters.org/images/art/thumbnails/s_PS1_37.122_Fnt_DD_T09.jpg",
"https://art.thewalters.org/images/art/thumbnails/s_PS1_37.122_FntCc_DD_T09.jpg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/copyright.svg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/facebook.svg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/instagram.svg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/svg/twitter.svg",
"https://art.thewalters.org/images/art/PS1_37.122_Fnt_DD_T09.jpg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png",
"https://art.thewalters.org/images/art/PS1_37.122_FntCc_DD_T09.jpg",
"https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/temp/creative-commons@2x.png"
] |
[] |
[] |
[
""
] | null |
[] |
2022-08-01T19:38:12+00:00
|
This painting was commissioned by William T. Walters in 1858, when the 62-year-old Durand was at the height of his fame and technical skill. The vertical format of the composition was a trademark of the artist, allowing him to exploit the grandeur of the sycamore trees as a means of framing the expansive landscape beyond.
Durand's approach to the "sublime landscape" was modeled on that of Thomas Cole (1801-48), founder of the Hudson River school of painting. The painters of this school explored the countryside of the eastern United States, particularly the Adirondack Mountains and the Catskills. Their paintings often reflect the Transcendental philosophy of Ralph Waldo Emerson (1803-82), who believed that all of nature bore testimony to a spiritual truth that could be understood through personal intuition.
|
en
|
https://art.thewalters.org/wp-content/themes/art-thewalters-org/assets/images/favicon.ico
|
Online Collection of the Walters Art Museum
|
https://art.thewalters.org/detail/19883/the-catskills/
|
This painting was commissioned by William T. Walters in 1858, when the 62-year-old Durand was at the height of his fame and technical skill. The vertical format of the composition was a trademark of the artist, allowing him to exploit the grandeur of the sycamore trees as a means of framing the expansive landscape beyond.
Durand's approach to the "sublime landscape" was modeled on that of Thomas Cole (1801-48), founder of the Hudson River school of painting. The painters of this school explored the countryside of the eastern United States, particularly the Adirondack Mountains and the Catskills. Their paintings often reflect the Transcendental philosophy of Ralph Waldo Emerson (1803-82), who believed that all of nature bore testimony to a spiritual truth that could be understood through personal intuition.
Inscription
Provenance
Provenance (from the French provenir, 'to come from/forth') is the chronology of the ownership, custody, or location of a historical object.
Commissioned by William T. Walters, Baltimore, 1858, by commission [1]; inherited by Henry Walters, Baltimore, 1894; by bequest to Walters Art Museum, 1931.
[1] Commissioned June 8, 1858, payment made May 3, 1859. See letters from Walters to Durand in the New York Public Library, Manuscript Division
|
||||
6840
|
dbpedia
|
2
| 17
|
https://news.artnet.com/art-world/susie-barstow-thomas-cole-2326251
|
en
|
Susie Barstow, a 19th-Century Artist Who Hiked Mountains in Bloomers to Paint Stunning Landscapes, Finally Gets a Museum Retrospective
|
[
"https://news.artnet.com/app/news-upload/2023/06/Barstow-Sunshine-in-the-Woods-785x1024.jpg",
"https://news.artnet.com/app/themes/artnet-news/assets/img/share.svg",
"https://news.artnet.com/app/news-upload/2023/06/Susie-B-hiking-photo-744x1024.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Barstow-paint-box-1024x819.jpg",
"https://news.artnet.com/app/news-upload/2023/06/2023A53_412_HR-1024x657.jpg",
"https://news.artnet.com/app/news-upload/2023/06/2023A53_413_HighResolution-1024x683.jpg",
"https://news.artnet.com/app/news-upload/2023/06/2023A53_416_HR-683x1024.jpg",
"https://news.artnet.com/app/news-upload/2023/06/2023A53_436_HR-1024x683.jpg",
"https://news.artnet.com/app/news-upload/2023/06/American-Paradise-Second-Edition-HR-04_nophotocredit-1024x681.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Barstow-seated-studio-1024x819.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Barstow-Floor-of-Yosemite-1-727x1024.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Barstow_Lake-Squam-798x1024.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Barstow-Kenilworth-Castle-1024x630.jpg",
"https://news.artnet.com/app/themes/artnet-news/assets/img/share.svg",
"https://news.artnet.com/app/news-upload/2015/06/sarah_circ-256x256.jpg",
"https://news.artnet.com/app/news-upload/2023/01/2023_NYR_20917_0202_000sarah_miriam_peale_watermelon042511-256x256.jpeg",
"https://news.artnet.com/app/news-upload/2022/02/image-asset-256x256.jpeg",
"https://news.artnet.com/app/news-upload/2021/07/07292021_ArtAngle-256x256.jpg",
"https://news.artnet.com/app/news-upload/2024/08/Cenci-G.-secondary-forest-HighLineArt-Photo-by-Liz-Ligon-2-2-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/Le_Sirenuse_Pool-1050-min-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/Iannacone-Portrait-A-copy-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/trevi-fountain-rome-getty-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/08/Cenci-G.-secondary-forest-HighLineArt-Photo-by-Liz-Ligon-2-2-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/Le_Sirenuse_Pool-1050-min-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/Iannacone-Portrait-A-copy-608x480.jpg",
"https://news.artnet.com/app/news-upload/2024/07/trevi-fountain-rome-getty-608x480.jpg",
"https://news.artnet.com/app/news-upload/2023/07/1-TG-Yokohama-2020_air_06_0762-A-256x256.jpg",
"https://news.artnet.com/app/news-upload/2023/06/Beatles-Pillow-Fight-@Harry-Benson-1964-1-256x256.jpg"
] |
[] |
[] |
[
"thomas cole house",
"Thomas Cole National Historic Site",
"hudson river school",
"hudson river school women",
"landscape art",
"contemporary landscape art",
"artnet-news",
"Old Masters"
] | null |
[
"Sarah Cascone",
"www.facebook.com"
] |
2023-07-04T20:00:36+00:00
|
See "Women Reframe American Landscape: Susie Barstow and Her Circle/Contemporary Practices" at the Thomas Cole National Historic Site.
|
en
|
https://news.artnet.com/app/themes/artnet-news/assets/img/favicon.ico
|
Artnet News
|
https://news.artnet.com/art-world/susie-barstow-thomas-cole-2326251
|
When Susie M. Barstow was in search of artistic inspiration, she would head to the mountains, sketchbook in tow, reportedly hiking as many as 25 miles a day while capturing views of the natural landscape.
This dedication to her practice is all the more remarkable considering Barstow began her career in the 1850s, at a time when bloomers were still considered daring attire for women.
“Going out in long heavy woolen skirts and heels and petticoats and all of these layers was so cumbersome,” Nancy Siegel, an art history professor at Maryland’s Towson University and curator of a new exhibition on Barstow, told Artnet News.
“So there were bloomers, trousers worn under a short skirt. And women like Susie would raise the hems of their walking skirts. Some women wore boy’s tennis shoes, or would use a clothes pin to pull their dress up almost to create pantaloons while they were hiking,” she added. “There were lots of ways that women carefully and strategically manipulated their dress so that they could navigate the landscape.”
Born in New York City in 1836, Barstow was among some 50 women who were part of the Hudson River School, painting in the tradition started by Thomas Cole. Now, the Thomas Cole National Historic Site, the home of the founder of the movement, is hosting Barstow’s first ever retrospective, “Women Reframe American Landscape: Susie Barstow and Her Circle/Contemporary Practices.”
In 2010, the museum had staged “Remember the Ladies,” the first exhibition dedicated to the movement’s women, curated by Siegel and art dealer Jennifer Krieger. A decade later, Betsy Jack, director of the Cole house, reached out to Siegel about organizing a follow-up show, this time focused on a single artist.
Barstow—who has more than 100 documented paintings—soon emerged as a natural choice, both due to her success during her lifetime and the availability of her work, as well as a wealth of archival materials preserved by her surviving family members (much of which they recently donated to the Albany Institute of History and Art).
“I had access to hundreds of letters and photographs and personal memorabilia, like her certificates from school and the tickets that she saved from seeing the Columbian Exposition, as well as hundreds of drawings and watercolors as well as paintings,” Siegel said. “It was this incredibly unique opportunity first to find that much existing biographical material about any artist, much less one of these women of the Hudson River School.”
The result is a two-part exhibition pairing work by Barstow—who already had one piece in the Cole house collection—and other women of the Hudson River School, with that of contemporary women artists responding to the landscape. It’s a collaboration between Siegel, who handled the historic material (and also wrote a new monograph about Barstow), and Thomas Cole National Historic Site chief curator Kate Menconeri and assistant curator Amanda Malmstrom, who enlisted the show’s living artists.
A total of 13 contemporary artists each made new work, some site-specific, for the show: Teresita Fernández, the Guerrilla Girls, Marie Lorenz, Tanya Marcuse, Mary Mattingly, Ebony G. Patterson, Anna Plesset, Jean Shin, Wendy Red Star, Jaune Quick-to-See Smith, Cecilia Vicuña, Kay WalkingStick, and Saya Woolfalk.
“In this exhibition, we wanted to recenter women in the canon of American art, and then expand and complicate how we think about in a landscape today, because it feels like we’re in this really urgent moment,” Menconeri told Artnet News.
Some of the works speak to contemporary concerns about the land and the environment, such as the Fernández installation Small American Fires, a series of 12 of wood panel graphite drawings of fire and a dramatic charcoal wall drawing. It’s inspired by the destructive power of fire, especially as climate change fuels more deadly blazes, but also its potential for rebirth, and the long Indigenous history of using fire to promote new growth.
Other pieces tie into the history of the Hudson River School and the Cole house more directly, like a new Guerrilla Girls poster installed in the stairway decrying the exclusion of women and artists of color from the movement—and its idealization of a landscape quickly falling victim to rampant industrialization.
Cole, of course, was an early environmentalist who used his work to advocate for the preservation of the natural landscape. In his preserved studios, the curators have placed a site-specific installation by Lorenz, featuring sculptures she’s crafted from plastic and other detritus collected in New York City waterways, as well as video footage of her excursions by boat.
“Rather than painting the landscape like Cole did, Marie brings people into the landscape through this project called The Time and Tide Taxi—it’s very intrepid,” Menconeri said. “In our post-industrial moment, the land is filled with flora and fauna and plants, but also plastics and particles and toxins. So the work is really exciting. The land is damaged and it’s imperfect, but this is where we are, and she still kind of embraces it.”
And then there’s Plesset’s American Paradise, a new edition of the catalogue for the 1987 Hudson River School show of the same name at New York’s Metropolitan Museum of Art that did not include a single woman. Plesset’s version of the publication is open to the title page and frontispiece, which now features a Barstow painting, creating an alternate history where the accomplishments of women are included and properly appreciated.
“We felt that bringing art about land and the landscape by contemporary women artist into and in conversation with the historic interiors of our 1815 main house was important to complement and expand upon the Susie Barstow presentation in the new studio,” Malmstrom told Artnet News.
“I like to think of Susie Barstow and her circle as the founding mothers of the Hudson River school. They paved the way for future women artist to engage with the landscape,” Siegel added.
The exhibition also includes a number of historic paintings by Julie Hart Beers, Fidelia Bridges, Charlotte Buell Coman, Eliza Greatorex, Mary Josephine Walters, and Laura Woodward—women artists who showed alongside Barstow and are equally deserving, Siegel insisted, of rediscovery.
“For so many years, the scholarship has focused on the male artists of the Hudson River School,” she said, “Hopefully, this show will usher in a new curatorial era of solo exhibitions devoted to these 19th-century women landscape painters.”
Born to a middle class family in Brooklyn, Barstow studied art at the Rutgers Female Institute and Cooper Union in New York. Though there were certainly still obstacles for women interested in a professional art career, Barstow benefitted from changing attitudes about women in the second half of the 19th century.
“There was a reform movement that acknowledged the importance of women exercising,” Siegel said. “Women were riding bicycles, they were hiking, they were getting outdoors—fresh air was considered to be really restorative.”
And Barstow took full advantage of that new freedom of movement, extensively hiking the Catskills and Adirondacks in New York, as well as New Hampshire’s White Mountains and trips overseas to Europe and to other parts of the U.S.
She also never married or had children, which freed her of many of the domestic responsibilities that so often limited women’s art careers. Barstow did, however, have a companion, a fellow landscape artist named Florence Nightingale Thallon, with whom she lived and traveled for some 20 years.
“I don’t want to speculate in terms of whether this was a relationship of a sexual nature, but I would certainly say it was a very intimate friendship,” Siegel said.
Though we may never know the full details of her personal life, what’s clear is that Barstow worked incredibly hard in her 87 years. Early in her career, Barstow wrote that “I will overcome every obstacle to success.” Remarkably, she did just that.
“Susie Barstow was incredibly well known. Her work sold for comparable prices as her male counterparts, and she showed in all the exhibitions that men like Asher B. Durand and Albert Bierstadt were showing in,” Siegel said.
“But there’s this moment of art historical amnesia in the interwar years between, after World War I and before World War II and all these women artists seem to disappear,” she added. “And now it’s time that we’re writing them back into history.”
“Women Reframe American Landscape: Susie Barstow and Her Circle/Contemporary Practices” is on view at the Thomas Cole National Historic Site, 218 Spring Street, Catskill, New York, May 6–October 29, 2023, and at the New Britain Museum of American Art, 56 Lexington Street, New Britain, Connecticut, November 16, 2023–March 31, 2024. It will also travel to the Leigh Yawkey Woodson Art Museum, 700 North 12th Street, Wausau, Wisconsin.
More Trending Stories:
Barbie’s Real-Life Hot Pink Malibu Dreamhouse, Complete With Ocean Views and a Roller Rink, Is Available to Rent on Airbnb
A Frank Frazetta Painting of a Brawny Warrior Sold for $6 Million, Making It the World’s Highest-Priced Work of Comic Book or Fantasy Art Ever
A German Museum Came Up With an Insanely Low-Tech Solution to Protect Its Rembrandt Canvas From a Leaky Ceiling
A U.S. Judge Permanently Banned Digital Artist Mason Rothschild From Selling His ‘MetaBirkin’ NFTs, Handing a Win to Hermès
A 17th-Century Double Portrait of Black and White Women, Said to Be of ‘Outstanding Significance’ Will Remain in the U.K.
This Famed Dollhouse Is Hung With Tiny Original Artworks, Including a Miniature Duchamp. Here Are Three Things to Know About the One-of-a-Kind Treasure
Elisabetta Sirani Painted in Public to Prove Her Work Was Her Own. Here’s How She Became a 17th-Century Star—and Why She’s Being Remembered Now
Follow Artnet News on Facebook:
Want to stay ahead of the art world? Subscribe to our newsletter to get the breaking news, eye-opening interviews, and incisive critical takes that drive the conversation forward.
|
||||
6840
|
dbpedia
|
0
| 22
|
https://nbmaa.org/exhibitions/poetry-of-nature
|
en
|
The Poetry of Nature: Hudson River School Landscapes from the…
|
[
"https://nbmaa.org/images/exhibitions/1910_11_AutumnWoods_Bierstadt.png",
"https://nbmaa.org/images/ct-art-trail-logo.png"
] |
[
"//www.youtube.com/embed/1evlDAN3rak",
"//www.youtube.com/embed/pFUp-W99Xsg",
"//www.youtube.com/embed/mMMNF4K7W9k",
"//www.youtube.com/embed/Q4wlc4S9rSg",
"//www.youtube.com/embed/ZZiZI1EZbYo",
"//www.youtube.com/embed/6GaYynWwI6Y",
"//www.youtube.com/embed/N0ND-v_8fYQ"
] |
[] |
[
""
] | null |
[] | null |
A stunning array of over 40 paintings created between 1818 and 1886, The Poetry of Nature illustrates America’s scenic splendor as seen through the eyes…
|
en
|
/favicon.ico
|
NBMAA
|
https://nbmaa.org/exhibitions/poetry-of-nature
|
A stunning array of over 40 paintings created between 1818 and 1886, The Poetry of Nature illustrates America’s scenic splendor as seen through the eyes of over 25 leading Hudson River School artists, including Thomas Cole, Asher B. Durand, John F. Kensett, Albert Bierstadt, as well as lesser-known but important artists Josephine Walters, Christopher Pearse Cranch, and Louisa Davis Minot, among others. Its display at the NBMAA will include the addition of works by Robert S. Duncanson, the first Black artist of the Hudson River School to gain international acclaim. Drawn from the collection of the New-York Historical Society, the exhibition explores the exchange of influence among this group of artists, their favored sketching grounds, and the legacy of Hudson River School painting today.
"We are honored to showcase this spectacular group of Hudson River School masterworks from the New-York Historical Society’s preeminent collection," said Dona Cassella, Chair of the Board of Trustees and Interim Director. "The Poetry of Nature beautifully complements and expands upon our own celebrated collection of 19th-century landscape paintings. Held concurrent to the Bicentennial of Frederic Law Olmsted’s birth, the exhibition will provide a timely opportunity to explore how artists and landscape architects have depicted and shaped the land throughout American history."
The Hudson River School rose to eminence in New York during the first half of the nineteenth century. The growing number of crowded industrial cities in the East gave rise to an appreciation for pictures of the landscape untouched by man. This closely-knit group of artists, together with like-minded poets and writers, forged a self-consciously “American” landscape vision and literary voice. Both were grounded in the exploration of the natural world as a rouse for spiritual renewal and as an expression of cultural and national identity. The Hudson River and the varied scenery along its banks provided the subjects for many of their landscape paintings. The Poetry of Nature looks in-depth at depictions of the Northeast and New England.
In the context of this exhibition, the NBMAA will highlight contemporary perspectives on land use, the environment, and landscape painting in America through related programming, and by welcoming contemporary artists and scholars to reflect upon the legacy of the Hudson River School and what it means within our world today. Additionally, the exhibition will take place concurrent to the Bicentennial of Frederick Law Olmsted’s birth (April 2022), and will provide a rich platform for programming that will further explore how artists and landscape architects depicted and shaped the American landscape in the 1800s.
The New Britain Museum of American Art’s Hudson River School holdings are rich and beloved by members and visitors alike. The Poetry of Nature will be complemented by highlights in the Henry and Sharon Martin Gallery such as Thomas Cole The Cove, Catskills; Frederic Edwin Church West Rock, New Haven, and Asher Brown Durand’s Sunday Morning.
The exhibition has been organized by the New-York Historical Society, which features one of the most renowned collections of Hudson River School paintings. Dr. Linda S. Ferber, the director emerita of New-York Historical’s Museum and a leading authority on Hudson River School artists, is the curator for this extraordinary exhibition.
About the New-York Historical Society
New York City’s first museum, the New-York Historical Society Museum & Library was founded in 1804. The Patricia D. Klingenstein Library—one of the most distinguished in the nation—fosters research through its outstanding collections, which include more than 10 million items. The Museum presents groundbreaking history and art exhibitions as well as public programs that convey the stories of New York and the nation’s diverse populations to the broadest possible public. Learn more at nyhistory.org.
JOIN US FOR THE MEMBER'S OPENING
January 27, 5:30-8 p.m.
In lieu of a traditional exhibition opening celebration, we would like to welcome all Museum Members to have early access to the show on Thursday, January 27, 5:30 p.m. to 8 p.m. There will be no formal remarks or refreshments this time around as we navigate the current COVID spike.
Please stop by the Museum on the 27th to enjoy a self-guided viewing of the show.
Related Programming will support learning about the importance of environmental stewardship, ecology, and access to land. Health, wellness, nature.
KEYNOTE | Betsy Kornhauser
January 30, 3 p.m.
LECTURE | Catharine Rogers Distinguished Lecturer Charles Button Climate Change Update
Thursday, February 10, 6-7 p.m.
AMERICAN EDEN | Victoria Johnson on David Hosack, Nature, and Art in the Garden of the Early Republic
February 27, 3 p.m.
LECTURE | Charles Button on Connecticut Agriculture
Thursday, March 10, 6-7 p.m.
DOCENT-LED GALLERY TALK - ARTISTS & WRITERS | Poetry in Nature: The Hudson River School Artists and Nineteenth Century American Writers
March 16, April 6, May 11 at 1 p.m. (note: some of these dates have sold out)
Docent Carol Lacoss will show the ways painters and writers used images of nature to create an artistic vision of nineteenth century America.
Register here.
LECTURE | Old Objects and New Audiences: The Hudson River School Today with William Coleman
March 20, 3 p.m.
Hudson Talbott Reading and Book Signing
Tuesday, April 12
A Day of Learning/Symposium | The Olmsted Legacy
April 20
Annotated Resource List About Frederick Law Olmsted and the Olmsted Legacy
FILM | Frederick Law Olmsted: Designing America
April 22, 1 p.m.
Register here.
Artful Science Experience | Landscape Art as Science with Linda Tomasso
May 1, 3 p.m.
Register here.
WELLNESS PROGRAMS
• Presentations by New Britain ROOTS on Gardening, Soil Testing, Seed Saving, and Healthy Cooking
• Virtual Slow Art
ADULT STUDIO CLASSES
• Plein Air Painting Workshops
• Sculpture and Sketching in Walnut Hill Park
• From the Earth: Working with Clay
• Landscape Collage: The Poetry of Spring Garden
• Landscape and Nature Prints | Monotype Workshop with Kasey Ramirez
FOR FAMILIES
• Family Guides
• April vacation programs
• April 16 - Family Earth and Arts Festival
• Studio@4 classes
TOURS:
Docent-Led Highlight Tours
Weekly: Sundays 1 p.m., select Thursdays 6 p.m.
Featured Press
Awakening the Senses: Hudson River School landscapes captivate in a traveling exhibition on view now at the New Britain Museum of American Art
American Fine Art Magazine, March/April 2022 Edition pdf
10 events to visit in Connecticut this March
By Paul Joseph, New England Magazine, February 22, 2022
Intimate, expressive: Hudson River School shows elegiac, poetic touch in New Britain
By Tracey O'Shaughnessy, Republican-American, February 19, 2022
Things to do in Connecticut this week (Jan. 27–Feb. 2)
By Patricia LaPietra, Connecticut Magazine, January 26, 2022
Hudson River School Landscapes On View Alongside Frederick Law Olmsted Bicentennial Events Art Fix Daily, January 18, 2022
|
||||
6840
|
dbpedia
|
3
| 2
|
https://collections.mfa.org/objects/33073
|
en
|
River in the Catskills
|
http://collections.mfa.org/internal/media/dispatcher/1657973/resize%3Aformat%3Dfull
|
http://collections.mfa.org/internal/media/dispatcher/1657973/resize%3Aformat%3Dfull
|
[
"https://collections.mfa.org/internal/media/logodispatcher/Collections-Search-Logo.png;jsessionid=7837A1FF9E1E01EC86635143E6C11A79",
"https://collections.mfa.org/internal/media/dispatcher/1657973/preview;jsessionid=7837A1FF9E1E01EC86635143E6C11A79",
"https://collections.mfa.org/internal/media/dispatcher/1657973/resize%3Aformat%3Dpostagestamp;jsessionid=7837A1FF9E1E01EC86635143E6C11A79",
"https://collections.mfa.org/internal/media/dispatcher/758781/resize%3Aformat%3Dpostagestamp;jsessionid=7837A1FF9E1E01EC86635143E6C11A79",
"https://collections.mfa.org/internal/media/dispatcher/758782/resize%3Aformat%3Dpostagestamp;jsessionid=7837A1FF9E1E01EC86635143E6C11A79",
"https://collections.mfa.org/internal/media/dispatcher/685779/resize%3Aformat%3Dpostagestamp;jsessionid=7837A1FF9E1E01EC86635143E6C11A79"
] |
[] |
[] |
[
"emuseum"
] | null |
[] | null |
en
|
/assets/meta/16cf4acc/images/apple-icon-57x57.png
|
http://collections.mfa.org/objects/33073/river-in-the-catskills;jsessionid=7837A1FF9E1E01EC86635143E6C11A79
|
At first glance, Thomas Cole’s River in the Catskills may seem like a typical nineteenth-century landscape, but it is in fact unusual among American landscapes of its time. Inspired by British notions of the picturesque found in natural scenery and Cole’s own writings on landscape, River in the Catskills presents an idyllic pastoral world removed from the realities of modern industrialization and urbanization. But one small detail, found upon close inspection of the background, sets it apart: a steam locomotive, an unequivocal symbol of industrial development. This work is considered to be the earliest known American oil painting to depict a train.
Cole’s decision to incorporate a train into his natural landscape may refer to the artist’s well-known writings about the destructive impact of industry on nature, particularly his 1836 “Essay on American Scenery.”[1]His ambivalent attitude was shared by many of his contemporaries, who witnessed their world being dramatically transformed, in both positive and negative ways, during the Industrial Revolution. In general, nineteenth-century Americans used the term improvement to refer to modernization, and understood industrialization as necessary to progress, but anxieties lay beneath. Improvement solved certain social ills, like socioeconomic disparity, but created others, like the disease pandemics of newly crowded urban cities. Industrialization also came at the expense of the natural landscape. In his essay, Cole described the process of creating an agrarian landscape out of the American wilderness as the “ravages of the axe.”[2]Thus, while River in the Catskills embraces certain pastoral landscape conventions by depicting a pasture, livestock, and lush greenery, it also subverts this tradition with its image of the train, a sign of improvement, or modernization. Such an observation has led art historian Alan Wallach to describe this painting as an “antipastoral.” [3]
As an uncommissioned work, River in the Catskills stands out among Cole’s several other painted versions of the natural scenery of the Catskills. The artist had moved to the town of Catskill in 1836 with his new wife, Maria Bartow. Over the years he had witnessed the town, also a major shipping port, grow and then decline, with an ultimately unfinished railroad development project that was in process for over ten years. In addition to squandering large sums of money and causing local conflict, the advent of the railroad worried local residents who treasured their familiar natural scenery. It was in this atmosphere that Cole began painting, and thus perhaps preserving, the landscape that surrounded him. Yet River in the Catskills diverges from Cole’s other renditions in its exploration of the tensions between nature and industry. Unlike other versions of the scene, this composition limits the lush greenery and includes the train, along with other markers of encroaching civilization: a collection of houses—probably a town—also appears; steam or smoke rises from the horizon, possibly indicating the presence of another train or a factory. In the foreground stands the scene’s main figure, a man in an eye-catching red coat, holding an axe, amidst a clearing of fallen trees. The attention drawn to the figure raises the question of man’s relationship to nature. Does the path to civilization and its improvements come only at the expense of clearing away the untouched American landscape?
Notes
1. Thomas Cole, “Essay on American Scenery,” The American Monthly Magazine, January 1836, 1–12.
2. Ibid., 12.
3. Alan Wallach, “Thomas Cole’s ‘River in the Catskills’ as Antipastoral,” Art Bulletin 84, no. 2 (June 2002): 334–50.
Rachel Tolano
InscriptionsLower left: T Cole/1843
|
||||
6840
|
dbpedia
|
0
| 34
|
https://www.gazette-drouot.com/en/article/crystal-bridges-the-museum-that-walmart-built/20789
|
en
|
Crystal Bridges: The Museum that...
|
[
"https://www.gazette-drouot.com/assets/illustration/logo_GD_black-ff2b0ac3e03d3a94e4be96da7788814d.svg",
"https://medias.gazette-drouot.com/prod/magazine/2024/20240719_29-1.jpg",
"https://www.gazette-drouot.com/assets/illustration/logo_GD_white-9b6fa757d60b829976bd4a308d789ba2.svg",
"https://www.gazette-drouot.com/assets/illustration/menu_connection-cbac3ac5f8b229f3868c0702b7b3ca39.svg",
"https://www.gazette-drouot.com/assets/illustration/menu_connection-cbac3ac5f8b229f3868c0702b7b3ca39.svg",
"https://www.gazette-drouot.com/assets/illustration/menu_connection-cbac3ac5f8b229f3868c0702b7b3ca39.svg",
"https://www.gazette-drouot.com/assets/illustration/logo_GD_white-9b6fa757d60b829976bd4a308d789ba2.svg",
"https://www.gazette-drouot.com/assets/illustration/icon_mobile_menu-738382dd37e8f3e11330b8bf330786b3.svg",
"https://medias.gazette-drouot.com/prod/medias/mediatheque/69418.jpg ",
"https://www.gazette-drouot.com/assets/illustration/modal_cross-8fea4feaabfb6cc3f296ace9f7f26caf.svg",
"https://medias.gazette-drouot.com/prod/medias/mediatheque/69417.jpg",
"https://www.gazette-drouot.com/assets/illustration/logo_GD_red-e614fd8cd0587e315fcade511f691504.svg",
"https://www.gazette-drouot.com/assets/illustration/picto_print-f750f141e2eb568f3225632a8032f66b.svg",
"https://medias.gazette-drouot.com/prod/medias/mediatheque/128524.jpg",
"https://medias.gazette-drouot.com/prod/medias/mediatheque/77768.jpg",
"https://medias.gazette-drouot.com/prod/medias/mediatheque/76164.jpg",
"https://www.gazette-drouot.com/assets/illustration/scrollToTop-39219b1adcf9e8a25366375aaadeaabe.svg",
"https://medias.gazette-drouot.com/prod/magazine/2024/20240719_29-1.jpg",
"https://www.gazette-drouot.com/assets/illustration/modal_cross-8fea4feaabfb6cc3f296ace9f7f26caf.svg",
"https://www.gazette-drouot.com/assets/illustration/modal_cross-8fea4feaabfb6cc3f296ace9f7f26caf.svg",
"https://www.gazette-drouot.com/assets/illustration/modal_cross-8fea4feaabfb6cc3f296ace9f7f26caf.svg"
] |
[] |
[] |
[
""
] | null |
[
"Tatsiana Zhurauliova"
] |
2021-01-29T13:12:35
|
Initially criticized for its links to the retail giant, ten years on the Crystal Bridges Museum of American Art has surprised many in the world of culture for...
|
en
|
/assets/illustration/favicon-21ea388135763e34ec52e34a82e11ab1.ico
|
gazette-drouot.com
|
https://www.gazette-drouot.com/en/article/crystal-bridges-the-museum-that-walmart-built/20789
|
Initially criticized for its links to the retail giant, ten years on the Crystal Bridges Museum of American Art has surprised many in the world of culture for its innovative and progressive practice.
|
||||
6840
|
dbpedia
|
3
| 61
|
https://www.borschtbeltmuseum.org/
|
en
|
Borscht Belt Museum
|
http://static1.squarespace.com/static/63291339ab29a04ec0e34fee/t/643ecd096afb1b7c59bd52af/1681837326238/Borscht-Belt-Museum-social-share.jpg?format=1500w
|
http://static1.squarespace.com/static/63291339ab29a04ec0e34fee/t/643ecd096afb1b7c59bd52af/1681837326238/Borscht-Belt-Museum-social-share.jpg?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/16a2a497-32e2-44eb-9cec-b1e088b446d8/01_Borscht_Belt_Museum_Logo_Hero.png?format=1500w",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/16a2a497-32e2-44eb-9cec-b1e088b446d8/01_Borscht_Belt_Museum_Logo_Hero.png?format=1500w",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/8de0c322-fc6c-461d-b1e7-d71b3c5a2d5e/Laurels-Pool-v2.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/78fbf839-2bd1-4ce6-b9c5-e25fe8763e15/Catskills-Borscht-Belt-Museum-hero-shape.png",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/c7ff3a7b-eb6a-4cc1-8316-e830cb6f7d81/01_Borscht_Belt_Museum_Logo_Hero.png",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/4d3cb299-5139-429a-a45f-3315ed9989e5/And-Such-Small-Portions-Hero.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/451255fd-da8e-45aa-ba6d-2407668c3d70/1950s-Borscht-Belt-Museum-Catskills-New-York-Photo-Archive.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/baf5da4b-71bd-4ff5-9b1e-0dc949fd6f19/Dining.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/431e3bf5-b165-4b0c-a76f-e79c3607a104/Borscht-Belt-Busboys-The-Pines.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/cc39f604-9ff2-4a8e-affe-440554f80235/museum+exterior.jpeg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/6413f8f1-b37e-457f-81cb-c5bd188265e9/Danny-Kaye-Jenny-Grossinger.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/d5d71339-93ef-4613-b449-c12675ecd864/floyd-patterson-kutshers.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/2341c88b-b94e-4ed7-b0b8-391e7838e683/LBJ-in-Catskills.jpg",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/f31e1f89-676e-4e6d-aa93-c6dca7fcc3c4/08_Borscht_Belt_Festival_Logo_Cream.png",
"https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/f6a81246-8fc4-4de2-9c4b-db08066b90a2/Reboot-Studios.jpg"
] |
[] |
[] |
[
""
] | null |
[] | null |
Dedicated to preserving the legacy and history of the Borscht Belt resort era.
|
en
|
https://images.squarespace-cdn.com/content/v1/63291339ab29a04ec0e34fee/490b39f3-8cea-4f00-9a1c-7fa83303e2da/favicon.ico?format=100w
|
Catskills Borscht Belt Museum
|
https://www.borschtbeltmuseum.org
|
The Borscht Belt Museum’s new exhibition, “And Such Small Portions!” Food and Comedy in the Catskills Resort Era, celebrates the vibrant history, cherished rituals and irresistible humor of food and comedy in the Catskills Resort era.
Curated by Debra Schmidt Bach (New-York Historical Society), Steve Jaffe (Museum of the City of NY) and Mackensie Griffin, (Bard Graduate Center), this interactive visual journey is inspiring, educational and deliciously fun.
This exhibition is made possible through the generous support of the Chaya Fund, the Victor and Pearl Tumpeer Foundation, Slutsky Lumber and Timely Signs.
For much of the 20th century, urban dwellers, many of them Jews, migrated en masse each summer to the Catskill mountains 90 miles north of New York City. They were seeking escape from the pestilence and sweltering tenements of the city, but also from rampant antisemitism that barred Jews from most hotels.
The vacation world they created included nearly 1,000 resorts, bungalow colonies and boarding houses, and a vibrant nightlife that drew the nation’s top entertainers — and a parade of sports figures, political leaders and civil rights activists.
The Borscht Belt Museum occupies the historic Home National Bank, a 1928 Neo-Georgian gem that has strong links to the Borscht Belt era. The Home National Bank was one of the few financial institutions willing to lend to the region's Jewish hoteliers and bungalow colony owners in the 1920s, 30s and 40s.
|
||
6840
|
dbpedia
|
2
| 95
|
https://www.antiquesandthearts.com/women-reframe-american-landscape-susie-barstow-her-circle-contemporary-practices/
|
en
|
Women Reframe American Landscape: Susie Barstow & Her Circle / Contemporary Practices - Antiques And The Arts Weekly
|
[
"https://www.facebook.com/tr?id=1712241569008949&ev=PageView&noscript=1",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/pluse-icon.jpg",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/pluse-icon.jpg",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/search_form_icon.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/facebook.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/twitter.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/instagram.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/youtube.png",
"https://www.antiquesandthearts.com/wp-content/uploads/2015/01/EditableWebsiteHome1.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-Autumn-Mountain-Lake-framed-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-young-photo-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Modifying-Modesty-1-high-res.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-Night-in-Woods-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_She-Her-Hers-Map-QTSPT207-hi-res-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_Stolen-Map-QTSPT209-hi-res-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/1964.40_SCole-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/201005EFrossard_APlesset_Art_2079-1-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-Autumn-Mountain-Lake-framed-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-Night-in-Woods-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-paint-box-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-young-photo-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow_Pool-in-the-Woods-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Barstow-Sunshine-in-the-Woods.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Bridges-Fidelia_Barnswallows-in-Frame.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Bridges_Small-Bird-with-Flowering-Ironwood-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Kay-WalkingStick-Winter-Passage-2017-Oil-on-panel-in-two-2-parts-91.4-x-182.9-cm-K_WAL0045-Photo-by-JSP-Art-Photography-1-1-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Modifying-Modesty-1-high-res.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_-Map-QTSPT210-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_Amerika-Map-QTSPT208-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_She-Her-Hers-Map-QTSPT207-hi-res-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/Smith_Stolen-Map-QTSPT209-hi-res-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2023/08/the-wailing-_ushers-us-home_and-there-is-a-bellying-on-the-land_-104in-x96-in...-scaled.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2024/08/lead-thumb-1-190x140.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2024/08/lead-thumb-190x140.jpg",
"https://www.antiquesandthearts.com/wp-content/uploads/2024/07/lead-thumb-4-190x140.jpg",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/footerlogo.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/facebook.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/twitter.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/instagram.png",
"https://www.antiquesandthearts.com/wp-content/themes/extremis/images/social_black/youtube.png",
"https://c.statcounter.com/10570333/0/0b1c69a2/1/"
] |
[] |
[] |
[
"Antiques and The Arts Weekly"
] | null |
[
"Jackie Doerwald"
] |
2023-08-01T11:30:27-05:00
|
CATSKILL, N.Y. & NEW BRITAIN, CONN. — Consciously or not, when we think of the so-called Hudson River School — the Nineteenth Century painters who created majestic American landscape views — we think of an essentially male phenomenon.
|
en
|
Antiques And The Arts Weekly -
|
https://www.antiquesandthearts.com/women-reframe-american-landscape-susie-barstow-her-circle-contemporary-practices/
|
By Jessica Skwire Routhier
CATSKILL, N.Y. & NEW BRITAIN, CONN. — Consciously or not, when we think of the so-called Hudson River School — the Nineteenth Century painters who created majestic American landscape views — we think of an essentially male phenomenon. Indeed, the Thomas Cole National Historic Site is more or less grounded in the concept of Cole as the “founding father” of the movement, taken up by (male) students and acolytes like Frederic Edwin Church and others after Cole’s premature death in 1848. This hierarchical leader-follower framing, however, effectively leaves out other participants, including what scholar Nancy Siegel has described as some of the “founding mothers” of the American landscape tradition. The two-part exhibition, “Women Reframe American Landscape: Susie Barstow & Her Circle / Contemporary Practices,” offers a broader vantage point. It is on view at the Thomas Cole National Historic Site through October 29, when it will then travel to the New Britain Museum of American Art November 16 through March 31.
A touchstone for the exhibition, as Siegel and her co-curators Kate Menconeri and Amanda Malmstrom acknowledge in the exhibition’s accompanying catalog, is Linda Nochlin’s influential essay from 1971, “Why Have There Been No Great Women Artists?” It’s a layered question, one that is at least partially complicated by how we define “great,” a label often applied after an artist’s death, when their career has fully played out (though Cole, to be fair, was recognized as great in his own lifetime). Since Nochlin’s essay, much feminist art history has involved demonstrating that there were, in fact, professional women artists who were recognized and acclaimed in their time but whom, for a variety of reasons, art history has failed to canonize. A central argument of the present show is that Susie Barstow (1836-1923) was one of those artists — and, importantly, that she does not stand alone, then or now, as a solitary genius but as part of a broad community of women artists participating in what we now term the Hudson River School.
The publicity for the exhibition, echoed by Siegel in a recent gallery tour, has hailed it as the “first solo show ever of a Nineteenth Century woman landscape painter,” which is a bit unfair to one of Barstow’s contemporaries, Fidelia Bridges (1834-1923), currently the subject of a solo show at the Leigh Yawkey Woodson Art Museum in Wausau, Wis. But Bridges is given her due here, to be sure, with an oil, “Small Bird with Flowering Ironwood,” and a small watercolor of barn swallows. Representative works are also on view by Julie Hart Beers, Charlotte Buell Coman, Eliza Pratt Greatorex, Mary Josephine Walters and Laura Woodward, many of whom were also featured in a 2010 exhibition at the Cole House, also curated by Siegel, called “Remember the Ladies: Women of the Hudson River School,” for which “Women Reframe American Landscape” was conceived as a kind of sequel. “To have this opportunity to focus on one particular artist and really give her a retrospective that she’s never had is the next important step in terms of curating,” says Siegel.
That earlier show furnished something of a revelation that so many women were participants in this defining American landscape tradition, particularly given the obstacles they had to overcome. In this pre-suffrage, pre-women’s rights era, women faced significant legal limitations, including their ability to govern their finances, own property and run businesses, coupled with the obligations of childbearing and family life that, with rare exceptions, were exclusive to women. Perhaps it is not surprising, then, that many of the women to succeed as landscape painters (which necessarily involved large periods of time outside the home) were thus unencumbered. Neither Barstow nor Bridges ever married and instead developed a network of female friends, traveling companions and “partners” (the term is left for readers and viewers to interpret as they will). Such arrangements enabled them to travel in pairs or groups rather than alone or with a male companion — which would have been unthinkable — and fostered networks of influence and knowledge sharing that were somewhat independent of the more formal teacher-student relationships from which they were largely excluded.
The show delves deeper into one specific limitation for women landscape painters: the challenge of how to hike in the restrictive women’s clothing of the late Nineteenth Century. A life-size enlargement of a tintype showing Barstow in her hiking gear opens the exhibition, and right next to it is her paintbox, which along with many of the artworks on view has been carefully saved by the Barstow family in the century since her death. Together, the picture and the paintbox convey the difficulty of navigating the actual terrain of the Catskills, Adirondacks and White Mountains, along with the fraught social terrain of postbellum America. There were ways to go about it, it turns out: a contemporary work by Anna Plesset, on view nearby, takes the form of an annotated antique dress pattern, showing how systems of pulls and cords modified long skirts for the hiking trails.
Kitted out in this way, Barstow painted highly accomplished views of scenery from New York to California and beyond, including multiple trips to Europe. Some of the works on view, like “Mountain Lake in Autumn,” are fully realized exhibition pictures in the formal idiom of the Hudson River School — distant view, framing foliage, eye-catching foreground details — while others, like “Pool in the Woods,” are more understated views of the forest interior, evocative of later Nineteenth Century ideas about how art, nature and spirituality intertwine. Indeed, “In the Woods” belonged to famed clergyman and orator Henry Ward Beecher (it is today in the collection of the Harriet Beecher Stowe House in Hartford, Conn.), evidence that Barstow had very high-profile clients indeed. “Pool in the Woods” is also interesting in that its composition is echoed in several other works in the show, including “Night in the Woods” and “Sunlight in the Woods,” exploring different effects of light, mood and time of day in much the same way European modernists like Claude Monet were doing at the same time.
The exhibition, as suggested by its title, exists in two parts, with “Susie Barstow and Her Circle” in the Cole site’s modern gallery space (a reimagining of Cole’s “new studio”) and “Contemporary Views” in the historic house where Cole and his family lived, also known as Cedar Grove. There is a little blurring of the boundaries in each place, with Anna Plesset’s aforementioned piece enhancing the historical works on view in the new studio and an important work by Sarah Cole — Thomas’s sister, and an accomplished artist in her own right — among the contemporary works of art in Cedar Grove. Sarah’s painting, on loan from the Albany Institute of History & Art, is a copy of Thomas’ Catskill “Mountain House,” also on loan; the two are seen together here for the first time since the Nineteenth Century. Notably, Plesset has a role in this liminal space as well as the one in the new studio; her “Value Study 1” copies Sarah’s copy after Thomas but leaves it unfinished — a reminder, says Menconeri, that “the labor of recovery, of recovering women’s voices in history, is never complete; it’s always being done.”
Left unfinished, with only the sky and a corner of foliage filled in at the upper left, Plesset’s work looks oddly map-like, with the sky reading as water and the foliage as land. Intentional or not, this creates a fascinating parallel to additional works on view in the same space (the second story sitting room of Cedar Grove) by the Indigenous artist Jaune Quick-To-See-Smith. In the painting “Unhinged (Map),” the outline of the continental United States is flipped on its head, with cartoon-like brackets around it suggesting motion and destabilization. More maps above the fireplace are smaller but no less striking; here the familiar US silhouette is rendered in careful beadwork, with each map bearing a beaded message: “She/Her/Hers,” “Stolen,” “$” and “Amerika.” These works and others deal forthrightly with topics that Barstow and her circle, as affluent Anglo-Americans, would likely never have considered including, as Malmstrom put it, “Who has the power to name the land, and who owns it?” as well as “Who is included in the stories we tell about it?”
It may feel jarring to some visitors to have the work of contemporary women of color take up so much space in a historic house otherwise dedicated to a Nineteenth Century English/American painter. But the curators point out that Cedar Grove is, in fact, a very woman-centered space. Although Thomas Cole lived there, he never owned it; it was the property of his wife, Maria’s, family, and much of the unseen labor involved in running it as a semi-public artist’s space, before and after Cole’s death, was done by women. Then, too, the art that was displayed here during Thomas’s lifetime — his own work as well as Sarah’s and that of their friends and colleagues — was contemporary for its time. So perhaps it is not so much of a stretch to see Teresita Fernández’s series of “Small American Fires” paintings line the perimeter of the room the Coles used as a gallery space, or Ebony G. Patterson’s monumental baroque wallpaper installation taking primacy of place in the parlor.
The question of who we include in our histories — and art histories — is the subject of yet another work by Plesset, which on first appearance seems to be simply a copy of the catalog for the Metropolitan Museum of Art’s 1987 Hudson River School exhibition, “American Paradise” laid open to the page featuring Susie Barstow. But wait — Barstow was never in that exhibition, nor in the catalog. Instead, this is a clever intervention, a literal reinsertion of women landscape painters into a canon-forming event and publication. Further, the work on view is not a book at all but a trompe l’oeil sculpture; visitors cannot leaf through it to see who else it may discuss (to be clear, it’s not okay to touch it at all); instead, Malmstrom says, it “leaves the labor to us as the viewer [as to] what would fill these pages; who would these women be.” Similarly, a newly commissioned work by the Guerilla Girls, “Hudson River School Reality Check,” exposes the lacunae and challenges the myths of American landscape painting and art-historical canon formation.
The Guerilla Girls piece represents the continuity of a kind of second-wave feminist art history that is now canonical in its own way, but this is further teased open by the intersectional work of a new generation, including the ethnic and ecocritical perspectives represented by Marie Lorenz, Tanya Marcuse, Mary Mattingly, Wendy Red Star, Jean Shin, Cecilia Vicuña and Saya Woolfalk. The shared message that human beings do not exist separately from nature but are wholly part of it is also evident in Kay Walkingstick’s monumental painting “Winter Passage,” a mountainous landscape not dissimilar in composition to those of the Hudson River School. Unique to Walkingstick’s rendition, though, is the Indigenous basketry pattern overlaid on the painting’s surface, hovering over the picture plane both to remind us that it is a picture and not reality, and to make the Native’s presence in the pictured landscape unignorable. Visually speaking, at least, you cannot get to those alluring mountains without encountering the heritage of those who lived, and still live, among them.
By weaving contemporary art in and among the historical pieces, the curators of “Women Reframe American Landscape” have adopted a similar strategy to Walkingstick’s: they have made it unignorable. At the same time, the visual appeal of the works draws you in and creates a space where you can begin to question why you have never seen some of them before, or why you respond as you do to seeing them in this place — or even to reconsider or reframe your perceptions of the Hudson River School itself. Engaging serious issues through beauty is something that Cole, an ardent and vocal environmentalist, understood out of the gate, and it is therefore only natural that his home furnishes a place to continue that lauded American tradition.
|
|||||
6840
|
dbpedia
|
3
| 36
|
https://www.greatnortherncatskills.com/art-exploration-elevation
|
en
|
Great Northern Catskills of Greene County
|
[
"https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/i-love-ny-30.svg",
"https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/footer-logo-buy-in-greene-invest-greene.png",
"https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/footer-logo-discover-greene.png",
"https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/BRA-0095-Filmingreene-WHITE.png",
"https://www.greatnortherncatskills.com/themes/custom/greene/assets/img/footer/CatskillsLogo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
Follow in the footsteps of America's greatest and most influential artists with our arts and culture itinerary.
|
en
|
/themes/custom/greene/assets/i/favicons/apple-touch-icon.png
|
https://www.greatnortherncatskills.com/art-exploration-elevation
|
The Great Northern Catskills are well known as a haven for writers, painters and poets. But did you know that the Hudson River School style of painting began right here in Greene County? A single man started a wave of artistic inspiration that can still be seen, and experienced today.
Have you ever laid eyes on an idyllic landscape painting depicting a wild, untamed American landscape? Chances are it is, or owes its style to, the Hudson River School, a style of painting inspired by the beauty that surrounds visitors to the Great Northern Catskills of Greene County on the daily.
|
|||||
6840
|
dbpedia
|
3
| 37
|
https://www.newpaltz.edu/museum/exhibitions/mcentee.html
|
en
|
The Samuel Dorsky Museum of Art
|
[
"https://www.newpaltz.edu/media/museum/2021-redesign/dorsky_logo.gif",
"https://www.newpaltz.edu/media/museum/2021-redesign/header_search_logo.gif",
"https://www.newpaltz.edu/media/museum/exhibitions/mcentee_yellow_autumn_woods.jpg",
"https://www.newpaltz.edu/media/museum/programs/mcentee_by_sarony3.jpg",
"https://www.newpaltz.edu/media/museum/programs/mcentee_facing_catskills2.jpg",
"https://www.newpaltz.edu/media/museum/mcentee_hires.jpg",
"https://www.newpaltz.edu/media/museum/exhibitions/mcentee_yellow_autumn_woods.jpg",
"https://www.newpaltz.edu/media/museum/programs/mcentee_by_sarony3.jpg",
"https://www.newpaltz.edu/media/museum/programs/mcentee_facing_catskills2.jpg",
"https://www.newpaltz.edu/media/museum/mcentee_hires.jpg",
"https://www.newpaltz.edu/media/museum/2021-redesign/fpa_logo_footer.gif",
"https://www.newpaltz.edu/media/museum/2021-redesign/dorsky_logo_footer.gif"
] |
[] |
[] |
[
""
] | null |
[] | null |
/media/web-assets/logos-images-and-icons/dorsky_favicon_21.ico
| null |
The stylistic range and aesthetic quality of the paintings and drawings in the exhibition demonstrate that McEntee set his own course, absorbing influences of his fellow Hudson River School painters while also responding to the atmospheric painting of J.M.W. Turner, the trauma of the Civil War, and the shifts in American taste to French Barbizon painting and Impressionism.
The exhibition includes works that cover the sweep of McEntee's career, from his descriptive local landscape paintings of the 1850s to his nearly impressionist works of the 1880s. A significant number of major canvases demonstrate McEntee's special infatuation with late fall, a time of repose in nature. Panoramic landscapes and intimate scenes of trees and creeks show the range and passion that McEntee brought to documenting the moods and vistas of his beloved Catskills and Hudson Valley. McEntee also traveled widely. Works in the exhibition include a painting made in Nevada in 1881, an informal scene of Frederic Church's camping party in Maine in 1879, and a group of paintings, plein air oil sketches, and a sketchbook made during McEntee's travels in Italy in 1868–69. The exhibition presents the full scope of McEntee's creative output, revealing how he developed compositions from pencil drawings to oil sketches to finished paintings.
Jervis McEntee, View Facing the Catskills, 1863, oil on canvas, Private Collection
The exhibition is accompanied by a 130-page catalogue which presents new scholarship and color reproductions. The three scholarly essays are by exhibition curator Lee A. Vedder; Kerry Dean Carso, a scholar of the historic Hudson Valley and professor at SUNY New Paltz; and American studies professor David Schuyler, the leading historian on McEntee. The catalogue also includes reprints of key texts from the rare memorial publication "Jervis McEntee: American Landscape Painter" (1892). There will be over 50 color plates.
The time is long overdue for a reappraisal of this fascinating artist who played such a pivotal role in the art world of his day. Since his Memorial Exhibition in 1891, there have been several important efforts in this direction sponsored by commercial galleries, but there has never been a monographic exhibition of his paintings organized by a museum.
Jervis McEntee, Journey's Pause in the Roman Campagna, 1868, oil on canvas, gift of Helen McEntee, 2010.013.002
Lenders to the exhibition include The Metropolitan Museum of Art, Brooklyn Museum, Frances Lehman Loeb Art Center at Vassar College, Birmingham Museum of Art, Pennsylvania Academy of Fine Arts, New-York Historical Society, Yale University Art Gallery, and other important public and private collections.
Funding for Jervis McEntee is provided by the Friends of the Samuel Dorsky Museum of Art and SUNY New Paltz. Additional major funding for the exhibition and catalogue has been provided by the Malka Fund, Furthermore: a program of the J.M. Kaplan Fund, and the James and Mary Ottaway Hudson River Catalog Endowment.
A related exhibition, Jervis McEntee: Kingston's Artist of the Hudson River School, organized by the Friends of Historic Kingston, is on view in its gallery at the corner of Wall and Main Streets in Kingston's Stockade District and is open Fridays and Saturdays from 11 am to 4 pm through Oct. 31, 2015.
|
|||||||
6840
|
dbpedia
|
2
| 94
|
https://braveheartscamp.org/our-supporters
|
en
|
OUR SUPPORTERS
|
[
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Thank_you_for_Donation_(3).jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:400,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/blob-a7869c6.png/:/cr=t:0%25,l:1.96%25,w:96.09%25,h:100%25/rs=w:388,h:291.72932330827064,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/5wits-Listing-5cfcb87d5056a36_5cfcb989-5056-a3.png/:/cr=t:12.41%25,l:0%25,w:100%25,h:75.19%25/rs=w:388,h:291.72932330827064,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/blob-322ac14.png/:/cr=t:4.38%25,l:0%25,w:100%25,h:95.62%25/rs=w:388,h:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Hydration%2BHub%2BIV%2BLogo-233w.webp/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,h:194,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Magnolia.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/ElmTree.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/pocono%20raceway.jpeg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/1173b8b652e6fd807a770379be5d8e02.jpg/:/rs=w:388,cg:true,m",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Pittsburgh_Steelers_circle.webp/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/144156logo1653666899_400.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/kalaharilogo.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/kartrite-logo_300long.webp/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/132795549885-0.webp/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/baltimore_orioles_logo_primary_19895183.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Woodloch_Corp0_6bee7395-c31f-ff13-5774473bf64b.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/232582307_10159445833824708_391676676575085265.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/435722626_394135990239446_5759421934829328594_.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/sight%20%26%20sound.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/goat-long-logo.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/bdlbottomlogo.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/bethelwoods-d20ebfc.jpeg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/MT%20FELIX%20WINES.webp/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/Lasting%20Impressions%20logo%20(002).jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/MillerLogo.jpg/:/cr=t:0%25,l:0%25,w:46.67%25,h:46.67%25/rs=w:388,cg:true,m",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/blob-fb8d717.png/:/cr=t:13.05%25,l:0%25,w:100%25,h:73.9%25/rs=w:388,h:291.72932330827064,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/sight%20%26%20sound.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/BeththeBomb.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/BlendJet_logo.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/OP_Logo_cmyk_.png/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/blob-f96810d.png/:/cr=t:25.55%25,l:0%25,w:100%25,h:50%25/rs=w:388,h:194,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/costas%20family%20fun.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,h:388,cg:true",
"https://img1.wsimg.com/isteam/ip/26ca3c72-cf15-494d-b2a9-28c7674c3a9b/hudson%20Bolders-954b4b7.jpg/:/cr=t:0%25,l:0%25,w:100%25,h:100%25/rs=w:388,cg:true"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
//img1.wsimg.com/isteam/ip/static/pwa-app/logo-default.png/:/rs=w:57,h:57,m
|
Camp Bravehearts Oncology Camp for Women
|
https://braveheartscamp.org/our-supporters
|
Lehigh Valley’s Premier Destination for FUN
Since 1884, Dorney Park has been the place families and friends have come to gather for a day of FUN. With more than 60 rides, shows, attractions, an area made just for kids, and a waterpark, Dorney Park has amazing fun for everyone.
Only at Dorney Park & Wildwater Kingdom will you find the most exciting and thrilling things to do in Allentown, PA, with over 60 world-class rides, one of the northeast’s largest waterparks, live entertainment, thrills for the little ones at Planet Snoopy, and amusement park favorite foods including a build-your-own funnel cake bar. Family-friendly special events will keep you coming back for new ways to play all season long.
Dorney Park & Wildwater Kingdom provides excitement for everyone in the family. Don’t miss out on your chance to make unforgettable memories at one of Pennsylvania’s top attractions!
Located on the first floor in Crossgates, 5 Wits Albany is a 12,000 square foot, multimillion dollar entertainment venue featuring three adventures: Deep Space, Drago’s Castle, and Tomb. Interact with live-action environments, solve puzzles, games, and challenges, and use caution: your performance changes the outcome of the adventure. Adventures adjust in difficulty to challenge returning players, and elusive secrets are contained in each one. It’s not a movie, video game, or escape room – unless you’ve been to 5 Wits before, you’ve never experienced anything like it!
Hydration Hub IV is your one-stop solution for revitalizing drips! Our offerings include the Defend Drip, a powerful infusion designed to bolster your immune system and keep you strong and healthy. Need to recover from a night of fun? Look no further than our Post Party Potion, expertly formulated to replenish essential nutrients and rehydrate your body after a night out. But that's not all! We have a diverse range of drips tailored to suit various needs, whether it's enhancing energy levels or promoting overall wellness. Experience the ultimate hydration and wellness boost at Hydration Hub IV today!
Magnolia Wellness Center knows that finding the ideal path to wellness is an overwhelming journey for most people. We believe that the wellness system of the future is one where you have complete control over your health and care providers who encourage education and looking at the root cause of imbalances to support you the best. We are creating that paradigm now by providing the best of NATURE and science combined, in one location.
Providing a wide array of innovative Wellness Services for your self-care journey
Located in Mt Pocono, PA
The National Comedy Center is the United States’ congressionally designated cultural institution dedicated to presenting the story of comedy and preserving its heritage for future generations. The Center’s exclusive collections, world-class exhibits, and cutting-edge technology are featured throughout the 37,000-square-foot attraction. Visitors are educated, inspired, and entertained by more than 50 immersive experiences as they take an interactive journey through comedy history, from early vaudeville to the latest viral memes.
The National Comedy Center also operates the nearby Lucille Ball Desi Arnaz Museum and presents the annual Lucille Ball Comedy Festival, which, for over thirty years, has showcased rising young comedians and comedy legends including Jerry Seinfeld, Lily Tomlin, Trevor Noah, Joan Rivers, John Mulaney and Ellen DeGeneres.
Since our beginnings, we have remained committed to a number of traditions, but by far the most important one is the way we treat our guests - “it’s as if they are company in our own home”. This is what sets The Lodge at Woodloch apart from other places.
Our dedicated team members are the cornerstone of our success. Their dedication, genuine caring, and commitment to excellence day in and day out are the essential ingredients that guests at The Lodge at Woodloch comment about year after year!
About Lasting Impressions
At Lasting Impressions, we promote the values of good oral health & provide unparalleled treatment & care through the establishment of a tailored and individualized doctor-patient relationship.
With every visit to our office, you will be received by a dedicated and committed staff, resulting in your complete satisfaction in a family-like atmosphere.
We will ensure a full benefit of services, utilizing modern technology, old-fashioned know-how and a tradition of time-honored care.
One of Pennsylvania's Most Beautiful Concert Halls
Serving as a cultural destination for the Lehigh Valley and beyond, Miller Symphony Hall is one of Pennsylvania’s most historic performing arts venues. It serves as home of the Allentown Symphony Orchestra and as a performance space for a range of diverse artistic organizations, creating a vibrant cultural community for the entire region.
The Hall began its life in the 1800’s as a large, three-story central marketplace. The building was converted to a theatre in 1899 by renowned architect J.B. McElfatrick and renamed the Lyric. Today it is one of only a dozen of McElfatrick’s prized ‘Beaux-Arts’ theatres that has survived.
Once the home of vaudeville, burlesque and Broadway-bound theatricals, this beautiful theatre has showcased the comedy of Bob Hope, George Burns and Gracie Allen; the magical voices of Johnny Mathis, Tony Bennett and Placido Domingo; the stirring marches of the Allentown Band, and the remarkable sound of the award-winning Allentown Symphony Orchestra.
23 N. 6th St.
Allentown, PA 18101
Email: info@allentownsymphony.org
|
|||||
6840
|
dbpedia
|
0
| 62
|
https://mydailyartdisplay.uk/2020/05/
|
en
|
May 2020 – my daily art display
|
[
"https://defaultcustomheadersdata.files.wordpress.com/2016/07/beach1.jpg?resize=1200,280",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/melchior-dhondecoeter.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/hunting-trophiesby-melchior-dhondecoeter-1682.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/baptism-of-the-moorish-chamberlain-by-gillis-dhondecoeter.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/hound-with-a-joint-of-meat-and-a-cat-looking-on-by-jan-baptiste-weenix.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/fowl-on-a-riverbank-1651-gijsbert-d-hondecoeter.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/poultry-yard-by-melchior-dhondecoeter.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/the-raven-robbed-of-the-feathers-he-wore-to-adorn-himself-by-melchior-dhondecoeter-1671.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/the-floating-feather-by-melchior-dhondecoete.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/the-menagerie-by-melchior-dhondecoeter.-.jpg?w=838",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/a-pelican-and-other-exotic-birds-in-a-parkby-melchior-dhondecoeter.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/a-park-with-swan-and-other-birds-by-melchoir-d-hondecoeter.png?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/dead-birds-by-melchior-dhondecoeter-mid-1660s-wallace-collection.jpg",
"https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/portrait-of-oswald-achenbach-by-ludwig-des-coudres.-1847..jpg?w=747",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/fishermen-with-the-bay-of-naples-and-vesuvius-beyond-by-oswald-achenbach-1877.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/summer-landscape-on-the-banks-of-the-alban-lake-by-oswald-achenbach.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/via-appia-with-the-tomb-of-caecilia-by-oswald-achenbach.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/venice-a-view-of-the-piazzetta-with-the-biblioteca-marciana-santa-maria-della-salute-and-the-dogana-by-oswald-achenbach.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/evening-by-oswald-achenbach-1854.-royal-collection-windsor-palace..jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/morning-by-oswald-achenbach-1854.-royal-collection-windsor-castle..jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/market-square-in-amalfi-by-oswald-achenbach-1876.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/study-from-upper-italy-1845-oil-on-paper-mounted-on-cardboard.-this-study-was-made-during-achenbachs-1845-trip-to-northern-italy..jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/the-evening-mood-in-campagna-by-oswald-achenbach-1850..jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/view-of-florence-by-oswald-achenbach-1898.jpg?w=840",
"https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/04/professor-andreas-achenbach-on-his-70th-brithday-by-heinrich-von-angeli-1.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/coastal-landscape-with-city-view-by-anders-achenbach-1875.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/clearing-upe28094coast-of-sicily-by-andreas-achenbach-1847-the-walters-art-museum-2.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/die-alte-akademie-in-dc3bcsseldorf-by-andreas-achenbach-1829.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/grosse-marine-mit-leuchtturm-by-andreas-achenbach.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/storm-on-the-sea-at-the-norwegian-coast-by-andreas-achenbach-1837-stc3a4del-museum.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/clearing-upe28094coast-of-sicily-by-andreas-achenbach-1847-the-walters-art-museum-1.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/hildesheim-andreas-achenbach-e28093-1875.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/maximilian-achenbach-max-alvary.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/storm-andreas-achenbach-e28093-1898-.jpg?w=840",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/honorary-grave-of-andreas-achenbach-with-mourning-angel-of-karl-janssen-north-cemetery-dc3bcsseldorf-.jpg?w=624",
"https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/cabin-in-autumn-upper-hudson-valley-1910.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/the-old-birch-tree-by-julia-hart-beers-1876.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/hudson-river-at-croton-point-by-julie-h-beers-1869.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/still-life-with-fruit-by-julie-hart-beers-1866.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/basket-of-roses-by-julie-hart-beers-ca.-1860s..jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/cabin-by-the-forest-by-julie-h-beers.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/a-quiet-pond-by-julie-hart-beers-1873.jpg",
"https://mydailyartdisplay.uk/wp-content/uploads/2020/05/a-hudson-river-scene-by-julie-h-beers.jpg",
"https://2.gravatar.com/avatar/b648911dfada1a4c24f384d57eeaec1b66feb78b269303fad84847acbc3f194d?s=49&d=identicon&r=G",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://s2.wp.com/i/logo/wpcom-gray-white.png",
"https://pixel.wp.com/b.gif?v=noscript"
] |
[] |
[] |
[
""
] | null |
[] |
2020-05-26T09:14:02+00:00
|
4 posts published by jonathan5485 during May 2020
|
en
|
https://s1.wp.com/i/favicon.ico
|
my daily art display
| null |
Having a grandfather, father, and brother-in-law, who are accomplished artists must be a great benefit when considering your future occupation. My featured artist had all three as role models and therefore there is no surprise that he too became a renowned artist. The artist I am talking about today is the seventeenth century Dutch painter, Melchior d’Hondecoeter, who was born in Utrecht around the early months of 1636. Hondecoeter was known for his bird studies and in particular for the realistic portrayal of these beautiful creatures. Initially he painted seascapes but around 1660 he concentrated on depictions featuring colourful and often exotic birds. The settings for his paintings were varied. Sometimes it was a farmyard, other times it would be a country park or the courtyard of a palatial residence. Nearly all the works had an interesting background, often lush landscapes enhanced by the odd architectural feature. This type of work was in great demand at the time and his paintings adorned the large rooms of wealthy Amsterdam merchants’ houses and some were even purchased by William III for his palaces. It is said that Hondecoeter kept his own poultry yard at his house, but he also made visits to the country residences of his patrons where he could study more exotic species and perfect settings.
But first let me talk a little about his antecedents who were to play an important part in forming his life. His paternal grandfather was the painter, Gillis d’Hondecoeter who was born into a Protestant family in Antwerp around 1580. A year after his birth, the Northern Netherlands, renounced the rule of the King of Spain with the declaration of Independence, Acte van Verlatinghe (Act of Abjuration), and as a result, Antwerp became even more engaged in the rebellion against the rule of Habsburg Spain. Antwerp was laid siege by Catholic Spanish forces for twelve months and it is thought that around 1582 Gillis and his family had to flee the city and move the safer protestant town of Delft. It is recorded that Gillis married on September 22nd 1602. His bride was Maritgen (Mayken) Ghysbrechts van Heemskerk who had come from the Dutch municipality of Rhenen. At this time Gillis was already living in Utrecht. A year later the couple moved to Amsterdam and it was here that Gillis remained until his death in October 1638.
One of Gillis d’Hondecoete best known paintings is The Baptism of the Moorish Chamberlain. It is a forest landscape work. The landscape is used as background, the trees serving as the wings of the setting. The depiction is based on a theme taken from the Acts of the Apostles (8: 26-40) which tells the story of Philip the Evangelist who converts and baptises the eunuch who was the chief treasurer to the Queen of Ethiopia. It all came about on the road, when Philip falls in with the Moorish chamberlain who was returning from a pilgrimage to Jerusalem. The story goes that Moor had been reading the Book of Isaiah in his carriage but does not understand the content. Philip offers to explain it to him and, using the Old Testament, he preaches the teaching of Christ. Arriving at a stream, the chamberlain requests to be baptised.
Gillis and his wife went on to have nine children including Melchior’s father Gijsbert d’Hondecoeter and a daughter, Josintje d’Hondecoeter. Josintje married the painter Jan Baptiste Weenix in 1639. His father, Jan Weenix, was Melchior’s cousin and also a well-known artist. It is easy to understand that Melchior d’Hondecoete was brought up in an artistic household and as you will see much of his artwork was similar to that of his family.
Gijsbert d’Hondecoeter, primarily a painter of barnyard fowl, became a member of the Guild of St. Luke in Utrecht in 1629. He initially taught his son Melchior but in 1653, when his son was in his late teens, he died and Melchior’s artistic tuition was taken over by his brother-in-law, Jan Baptist Weenix.
Arnold Houbraken, also a 17th century painter, but best known as a biographer of Dutch Golden Age painters, was told by Jan Weenix that Melchior was an extremely religious youth, continually absorbed in prayer, so much so that his mother and uncle wondered whether they should have him trained as a minister rather than as a painter. Melchior worked as an artist in Utrecht and became a member of the Confrerie Pictura and its head in October 1654
Records show that in August 1658, twenty-two-year-old Melchior was working in The Hague and had become a member of the local Confrerie Pictura, an artist’s society which had been formed in 1656. Normally, it would have been expected that as a professional artist, Melchior would have become a member of the town’s well established association, The Guild of St Luke, but he decided on aligning himself with the Confreirie Pictura which had been set up by 48 dissatisfied painters who had left the local Guild. Melchior became chief of this painters’ fraternity in 1662. In 1663, Melchior d’Hondecoeter married Susanne Tradel, a thirty-year-old woman from Amsterdam and the couple had two children, Jacob and Isabel, baptized in 1666 and 1668. The couple, as well as his sister-in-laws, lived on the street which ran alongside the Lauriergracht canal, which housed many artists and art dealers. It is believed that Hondecoeter spent much time in his garden or drinking in the tavern in the Jordaan, possibly being overwhelmed by the household of women. He later moved to Leliegracht which was close to his favoured drinking haunt on the Jordaan
One of Melchior’s most famous works was his painting entitled A Pelican and Other Birds Near a Pool but is often referred to as The Floating Feather which he completed around 1680. The shortened title is because of the feather we see floating in the pond in the foreground. The work was commissioned by the Stadholder William III of Orange for his Het Loon Palace in Apledoorn. It must have been a great honour for Hondecoeter to receive such a commission from the country’s ruler. The painting depicts a pelican in the foreground, a cassowary behind it at the left, and a flamingo and a black crowned crane. In the foreground various water birds congregate in and around a basin, and a feather floats on the water’s surface. Paintings like this were admired by wealthy merchants of Amsterdam, and by William III, who had works by Melchior at three of his palaces. Hondecoeter’s murals and large paintings were ideal for merchants’ large country houses and the depiction of birds was very popular at the time.
Another painting which was bought by William III for his palace at Het Loo was his work entitled The Menagerie. It depicts two squirrel monkeys from Central America, two white sulphur-crested cockatoos from Australia, a grey parrot from Africa and a purple-naped lory, from Indonesia, on a chain at the lower left of the painting. In this painting, Hondecoeter combined these creatures and several other colourful exotic birds. The finished painting was given to William III and was hung above the door of the king’s private apartment.
Hondecoeter completed a similar depiction in his painting A Pelican and other exotic birds in a park, and in the birds we see before us, there are some similarities, such as: the birds on the water, the group of exotic birds, the pelican, and the famous floating feather. Other features are also similar, such as the background landscape and the Muscovy duck in the centre foreground. In this work, new species of birds have been added on the far side of the pool and a Moluccan cockatoo can be seen in the tree on the left. It is thought that Melchior completed this work sometime between 1655 and 1660.
The National Museum Wales has a painting by Melchior d’Hondecoete. It is entitled A Park with Swan and Other Birds. The setting is a country house park with fowl before a fountain and an ornamental terrace with statues and figures. In the depiction we see European birds as well as a peacock, a North American turkey and an African crowned crane in front of a fountain on an ornamental terrace The painting is one of six by the artist which once hung in the London home of Emily Charlotte, a daughter of Welsh landowner, industrialist and Liberal politician, C.R.M. Talbot of Margam Abbey and Penrice Castle. This type of painting was often used to decorate the country houses of wealthy Dutch patrons.
In 1692, his wife died and Melchior went to live in the house of his daughter Isabel on the Warmoesstraat, one of the oldest streets in the city. Melchior d’Hondecoete died, aged 59, in Amsterdam on April 3rd 1695, and was buried in the Westerkerk. He left his daughter with substantial debts.
In Dusseldorf, on February 2nd 1827, Christine Achenbach gave birth to her fifth child, her son Oswald. His father, Hermann, was a man-of-all-trades, a one-time manager of a metal factory, a beer brewer, an innkeeper and finally a bookkeeper. Oswald was destined, like his brother Andreas, who was almost twelve years older than him, to become one of the great nineteenth century German landscape artists and an important representative of the Dusseldorf School of Painting. Their painting style was so alike that they were often jokingly referred to them as the Alpha and Omega of landscape painting.
When Oswald was still a young child the family moved to Munich where he attended primary school. During Oswald’s early childhood, the family moved to Munich where he attended primary school for a short period. In 1835, the family moved back to Dusseldorf and Oswald followed the artistic path of his brother and was enrolled in the elementary class of the Kunstakademie Düsseldorf (Dusseldorf Art Academy). In fact, he should not have passed the entrance criteria for the school as its rules laid down a minimum entry age of twelve. However, he was given a place and remained there until 1841. There is no record of why the academy relaxed the age criteria but it could well have been that they recognised a budding artist who had probably received some artistic tuition from Andreas. All that is known about his six years at the academy is gleaned from his sketchbooks which were full of nature sketches from the area around the city.
There is no certainty as to why Oswald left the Academy at the age of fourteen but it is thought that he was unhappy with the very demanding Academy teaching. It was not just the Dusseldorf Academy which had their rigid formal academic training, the same was happening in all the European Art Academies and all fought hard to maintain their formal approach. Where the Academies held the ‘whip hand’ was the fact that they organized the big art exhibitions, at which artists were primarily able to sell their work. Artists who dared oppose the Academic style were unable to have their works exhibited, which meant their opportunity to sell their paintings was curtailed. However, artists were not prepared to bow to such pressure and soon began to make their feelings known.
After leaving the Academy, Oswald Achenbach joined two associations: the Verein der Düsseldorfer Künstler zur gegenseitigen Unterstützung und Hilfe (association of Düsseldorf artists for their mutual support and aid) and like his brother, the Malkasten, which was founded on 11 August 1848 with Andreas Achenbach as one of the original signatories of the founding document. These Associations jointly staged plays, organized music evenings and staged exhibitions. At many of these events, Oswald took an active part, directing, playing or staging plays. He was a staunch supporter of the Malkasten and remained a member until the end of his life.
In 1843, sixteen-year-old Oswald Achenbach began a prolonged journey of discovery which lasted several months. He travelled through Upper Bavaria and the North Tyrol of Austria, and arrived in Northern Italy, all the time sketching the landscapes he encountered. He returned to Italy on many occasions and Oswald is best remembered for his Italian landscape works. Despite Oswald’s dislike of how art was taught at the Dusseldorf Academy, the subject matter and the techniques he employed in his early landscape works were heavily influenced by the ideas being taught at the art academies of the time. Art historians confirm that the influence of Johann Wilhelm Schirmer, a tutor at the Dusseldorf Academy and Carl Rottman, the German landscape painter who completed many Italian landscape works, can be seen in Oswald Achenbach’s paintings. In Oswald Achenbach oil studies for his paintings during his Italian travels, he adhered very closely to the nature of the landscape and concentrated on the details of the typical Italian vegetation. In his early works, he showed less interest in architectural motifs and any figures in his depictions played a much smaller role than they would in his later, more mature work.
Around 1847, Oswald received a commission to contribute some lithographs of his paintings, sketches, and other works for the satirical journals, Düsseldorf Monathefte and the Düsseldorf Monatsalbum. These journals were published by Heinrich Arnz, a well-known bookseller and printer who co-owned the Arnz & Co. with his brother Josef. Heinrich had a son, Albert, five years younger than Oswald. He was an artist who, like Oswald, studied at the Dusseldorf Academie and would often accompany him on some of his Italian trips. Heinrich Arnz also had a daughter, Julie, the same age as Oswald Achenbach and after a brief courtship the pair became engaged in 1848, and three years later, the couple married on May 3rd 1851. Between 1852 and 1857 the couple had four daughters, followed by a son in 1861. Their son, Benno von Achenbach, went on to become the founder of the carriage driving system named after him. In 1906 he became head of the Neuer Marstall in Berlin, which housed the Royal equerry, horses and carriages of Imperial Germany and in 1909, William II awarded him the hereditary nobility for his services to equestrian sport.
Not now having any connections with the Dusseldorf Academy, Oswald Achenbach had problems in trying to exhibit and sell his artwork. However, in 1850 he found an outlet in the form of the newly founded Düsseldorf gallery of Eduard Schulte. The gallery exhibited the works of artists who were independent of the Academy and as such, played an essential role in Achenbach’s early economic success. The Eduard Schulte gallery became one of the leading German galleries and later expanded, opening galleries in Berlin and Cologne.
Whether by mutual consent or just fate but the two landscape painting brothers Oswald and Andreas seemed to choose different areas of Europe to depict in their paintings. The older brother Andreas although a large amount of his work was focused on seascapes and maritime depictions, he preferred his landscapes to focus upon the countryside of Northern Europe and Scandinavia, whereas Oswald preferred to produce depictions of Southern Europe, especially Italy.
Oswald’s first major painting venture to Italy came in the summer of 1850. His companion for the adventure was Albert Flam, a German landscape painter, who had been taught by Andreas Achenbach and, like the Achenbach brothers, had been a student at the Dusseldorf Academy. They travelled to the French Cote d’Azur seaside town of Nice and then crossed over the Franco-Italian border to Genoa, the capital of the Italian region of Liguria and then they journeyed north to Rome. The pair went off on daily sketching expeditions to the Roman Campagna which was so popular with earlier landscape artists who were inspired by its beauty. Rome was a great place for artists to meet each other and during his stay in Rome Oswald met many including the Swiss Symbolist painter, Arnold Böcklin, Ludwig Thiersch, the German painter known for his mythological and religious subjects and especially his ecclesiastical art, and the landscape painter, Heinrich Dreber with whom he spent a long time in Olevano Romano, a commune which lies about 45 kilometres east of Rome. All artists tackle landscape painting differently and Ludwig Thiersch commented on how his friends differed. He said that Dreber drew elaborate pencil sketches, Böcklin simply let himself experience the environment and recorded relatively little in his sketchbook, while Achenbach and Flamm both painted oil studies outdoors. For Oswald Achenbach it was all about colour and achieving the correct tone by layering the paint. Form and the distribution of light and shadow was also very important to him, but less so was detailed topographical accuracy.
By the start of the 1850’s, Achenbach’s paintings were well-known internationally. In 1852, aged 25, the Art Academy in Amsterdam had admitted him as a member. More fame came his way when several of his works were displayed at the Exposition Universelle of 1855 in Paris, all of which were praised by the art critics and the public alike. In 1859, he received a gold medal at that year’s Salon Exhibition in Paris. In 1861 he was granted an honorary membership to the St Petersburg Academy and in 1862 he was bestowed membership of the Art Academy of Rotterdam.
Despite leaving the Academy due to his opposition to the Academy’s method of teaching art, in March 1863, Achenbach became the Professor for Landscape Painting at the Düsseldorf Academy. This was a great honour and it signified an elevation in his social standing as well as financial security. It would also look to be a volte-face to his earlier opposition but the reason for him accepting the post could have been due to the departure of the director of the academy, Friedrich Schadow, four years earlier and the fact there had been conciliation between the Academy and the independent artists. The title, Knight of the Legion of Honour, was bestowed on Oswald by Napoleon III in 1863. Many more international honours followed. Oswald Achenbach continued to have his work exhibited at the Salon between 1863 and 1868
In the following years, Achenbach continued to make more trips and his last major trip was to Italy. It began in the early summer of 1882 and he visited Florence, Rome, Naples, and Sorrento. In 1884 and 1895 he took trips to Northern Italy. He had planned a trip in 1897 to Florence but cancelled it due to illness.
Oswald Achenbach died in Düsseldorf on February 1st 1905, one day before his 78th birthday. He was buried in the city’s North Cemetery.
When I looked at the life of the Hudson River School painter, James McDougal Hart, I talked about his time at the Dusseldorf Academy and how the Dusseldorf School of painting influenced him. The style of the Dusseldorf School of painting is characterised by its finely detailed, often overstated, and fanciful landscapes that more often than not have some kind of religious or symbolic stories depicted via these landscapes. The leading artists and members of the Dusseldorf style of painting reinforced the need for plein air painting, so that the artist could capture the true nature before returning to their studios and remaking more accurate visual conditions in their work.
The Dusseldorf School of painting principal period was one from 1826 to 1859 when German painter Friedrich Wilhelm von Schadow was the school’s director. He had been professor at the prestigious Berlin Academy of the Arts, and in 1826 he was made director of the Düsseldorf Academy of the Arts, which he reoriented towards the production of Christian art. Twelve-years-old, Andreas Achenbach, is thought to have been one of von Schadow’s earliest pupils at the Dusseldorf Academy. Let me introduce you to this artist, the German landscape and seascape painter in the Romantic style.
Andreas was born on September 29th, 1815 in the Northern Hesse town of Kassel, Germany. He was one of ten children born to Hermann Achenbach and Christine (née Zülch). His father Hermann was a merchant. In 1816 he took over the management of a metal factory in Mannheim. Two years later, in 1818, he moved his family to St. Petersburg, where the father wanted to set up a new venture, that of his own factory, the money for this project emanated from his wife’s “dowry”. Whilst in St Petersburg young Andreas received his first lessons in drawing in a girls’ school. He excelled and his teacher is said to have certified that six-year-old Andreas ‘could already do everything’. His father’s venture failed and, in 1823, he was forced to take his family back to Germany and settle down in the small Rhine Province town of Elberfeld. where family members of the father lived. Andreas’ father then began to earn a living, working as a beer and vinegar brewer and took ownership of an inn, The Black Wallfish, at Jägerhofstraße 34. It became a regular for visiting artists.
On February 2nd, 1827 Christine Achenbach gave birth to her fifth child, a son Oswald who would, in later years, become as greater an artist as his brother Andreas.
Andreas began his formal academic training, in 1827, at the age of twelve, when he enrolled at the Kunstakademie Düsseldorf under Wilhelm Schadow, Heinrich Christoph Kolbe and Carl Friedrich Schäffer. At an exhibition of the Kunstverein für der Rheinlande und Westfalen, which Schadow had co-founded, fourteen-year-old Andreas Achenbach achieved his first major success by being not only the youngest artist with a painting at the exhibition but also that one of his paintings, the painting Die alte Akademie in Düsseldorf, was sold. The setting of the painting was a view from a window in his parents’ apartment in the house Burgplatz 152. It was an unusual subject for Andreas to choose, considering what he had been taught at the Academy. The depiction is a simple restrained cityscape and such “reality” was deemed to be too banal and unartistic at the Academy, which under the leadership of Schadow was dominated by idealistic concepts. It is thought that this work resulted in Achenbach’s name being omitted from the Academy’s list of artists and not appearing until the winter term of 1830/1.
In 1832 and 1833 he took an extended study trip with his father to Rotterdam, Scheveningen, Amsterdam and Riga. The journey of discovery gave him the ideal opportunity to study Dutch and Flemish landscape painting. The works of the seventeenth-century Dutch landscape painters Jacob Isaackszoon Ruisdael and Allaert van Everdingen were to particularly influence his art. Achenbach, as well as painting landscapes also painted seascapes, often depicting terrific storms and it is thought that the stories he heard from his family regarding their treacherous 1818 journey to St Petersburg remained in his mind for many years. His artistic breakthrough came at the 1836 General German Art Exhibition in Cologne at which his painting Großer Marine mit Lighthouse, was on show and up for sale. It was bought by the Prussian governor in the Rhine Province, Frederick of Prussia.
Following his trips with his father, Andreas Achenbach made many painting trips on his own. In 1835 he made a major trip to Denmark, Norway, and Sweden. And the following year he journeyed to the Bavarian Alps and the Austrian Tyrol. After his tour of Bavaria and the Tyrol, he left Dusseldorf and settled in Frankfurt and, thanks to the assistance of his friend, the German history painter, Alfred Rethel, he was able to open a studio at the Städelsche Kunstinstitut. Despite having his own studio in Frankfurt, Andreas continued with his periodic travels. He returned to Scandinavia in 1839 taking a painting tour of Norway.
He also took more trips to Italy during the period from 1843 to 1845 when he stayed in the Campagna and spent time on the Isle of Capri. and often returned to Scandinavia, often accompanied by his artist brother, Oswald. Ostend was a popular destination for the two brothers.
In 1846 Andreas returned to Dusseldorf and lived on the Flinger Steinweg, a then prosperous middle-class area of the city. He took over the running of his father’s brewery and inn. His father, despite being sixty-three, was glad to hand the business to his son so he could concentrate on being a freelance accountant. Andreas became a member of a number of artistic associations and was one of the founders of the newly formed Künstlerverein Malkasten (Artists’ Association Malkasten), often referred to as The Paint Box, which still exists today. He, together with other wealthy patrons, provided for the purchase of the former Estate of the Jacobi family in Pempelfort and its expansion as a permanent centre of the association, using considerable funds of his own. Andreas wholeheartedly immersed himself in Dusseldorf’s artistic life.
In 1848 Andreas Achenbach married Marie Louise Hubertine Catharine Lichtschlag and the couple went on to have five children, three daughters, Lucia, Karoline, and Helena and two sons, Gregor, and Maximilian. Maximilian studied to be an architect at Aachen university and graduated in 1871. After working as an architect for a few years, and against the will of his father, he gave up his architectural career, married, and began his vocal studies in Milan and Frankfurt. He took his stage name, Max Alvary. so as not to offend his father and compromise his father’s business. Later Maximilian moved to Weimar and performed at the court opera, where he was very successful. He later appeared at the Metropolitan Opera House in New York and Covent Garden Opera House in London.
In 1848 Achenbach was awarded the Belgian Order of Leopold. In 1853, he was made an honorary member of the Pennsylvania Academy of the Fine Arts, In 1861 the Order of St. Stanislaus, and in 1862 the Accademia di Belle Arti di Brera in Milan. More honours followed and in 1878 he was awarded the Commander’s Cross 2nd Class of the Royal Norwegian Order of Saint Olav. On 24 January 1881 he was admitted to the Prussian Order of Pour le Merite for Science and the Arts. In 1885 he became an honorary citizen of Düsseldorf, in whose northern cemetery he received an honorary grave, designed by the sculptor Karl Janssen.
Andreas Achenbach died on April 1st 1910, aged 94. He was laid to rest in the Malkasten-Haus, where there was an opportunity to say goodbye to him for several days. The people of Düsseldorf queued to pay their last respects. The funeral procession moved off from the Paint Box heading to Achenbach’s final resting place at Dusseldorf’s North Cemetery and it was commented in the local media that it was akin to a state funeral of a prince.
In my next blog I will look at the life and works of Andreas’ brother, Oswald Achenbach.
Part 3. Julie Hart
“…Mrs. Julie Hart Beers Kempson became the only woman artist of the century to specialize in landscape. It is perhaps not surprising to find so few women landscapists, since the rigors of painting outdoors and the unseemliness of women engaging in this activity during the Victorian era acted as a deterrent…”
William H. Gerdts,
Women Artists of America 1707-1964 (Newark: Newark Museum, 1965)
The above extract is from the article in the 1965 Newark Museum catalogue Women artists of America, 1707-1964 that accompanied the exhibition. It was written by the American art historian and former professor of Art History at the City University of New York Graduate Center, William Gerdts.
In my final blog regarding the artistically talented siblings of the American Hart family I want to look at the life and work of the youngest child of James and Marion Hart, Scottish immigrants who had settled in Albany, N.Y., in 1831. Julie Hart was born in 1835, in Pittsfield, Massachusetts, and was the only one of her siblings to have been born in America. She, as we have seen in the two previous blogs, had two talented artists as brothers, William Hart and James McDougal Hart. The world of Fine Art in America, in the nineteenth century, was a male-dominated institution. There were female painters but they were looked upon purely as hobbyists rather than being serious professional painters. It was believed by many men that women had better things to do than paint professionally – raising children, keeping house and looking after their hard-working husbands. Most art academies didn’t admit women, and neither did the art societies that linked artists with patrons, which was a prerequisite to the financial success of an aspiring artist. So, in the early part of the nineteenth century, women artists signed their work with just a first initial and a surname so as to conceal their gender, thus hoping that their ability as an artist would not be downgraded once the sex of the artist was known. For women to succeed in the world of Fine Art they needed both their family and/or financial backing to launch them professionally. Often, they were the sisters, daughters and wives of better-known male artist. There was no formal training for women at art institutions so once again they relied on family members or friends to help develop their talent. Julia Hart was fortunate enough to have her two elder brothers, who were aligned with the Hudson River School of art, to teach and mentor her and so, as a teenager, she became interested in plein air landscape painting. She was one of very few professional women landscape painters in nineteenth-century America
In 1865 the American Civil War had ended and the Reconstruction had begun. Americans unfettered by the trials of war were once again relishing the joys of tourism and travel. They would often explore the great landscapes. One such area was the banks of the Hudson River which had started its 319-mile journey from the Adirondacks towards its outflow between Manhattan and Jersey City. It was the upper reaches including the Adirondacks, Catskills and White Mountains which tempted both tourists and artists alike. The artists, who were looked upon as being part of the Hudson River School, wanted to capture the beauty on canvas and the tourists wanted pictorial mementos of their journeys. These areas of beauty were often steep-sided hills and mountains and for female artists who came to the region for some plein air sketching and painting, they had to overcome the challenge of decorous dressing versus suitable attire for their arduous painting trips. These women ventured on their own or alongside male relatives into the wilderness, painting the breath-taking scenery that inspired America’s first art movement. Julie Hart was one of those women.
Julie Beers married in 1853, when she was eighteen years old. Her husband, also a painter, was Marion Beers. Marion, like Julie’s brothers, helped teach his wife artistic techniques which were to serve her well in the future. In the mid 1850’s Julie, like her two brothers, relocated to New York city and set up a studio. Since her marriage, Julie signed all her paintings “Julie H Beers”
It is thought that Julie’s first exhibition was held at the National Academy of Design (NAD) in 1867, following which she had her paintings exhibited at the NAD annual exhibitions in each of the following twelve years. She also exhibited at the Boston Athenaeum in 1867 and 1868 and at the Pennsylvania Academy of Fine Arts in 1868.
Besides being a renowned landscape painter Julie was also a talented still life artist as can be seen by her 1866 painting Still life with Fruit.
Another of her still life paintings, completed around the same time was entitled Basket of Roses.
Her husband, Marion Beers died in 1876 and the following year Julie married Peter Kempson and the newly-weds moved to Metuchen in New Jersey. Julie Hart Beers Kempson proved that women landscape painters were the equal of men, despite the harshness of painting en plein air in the wild and often barely accessible landscapes along the Hudson River. Sadly her paintings did not receive affair and objective assessment during her lifetime and she was not truly valued in her own time, but notwithstanding that transgression, her talent and dedication as an artist which not only produced outstanding works of art, but also led the way for the female landscapists who would follow her.
I will end this blog as I started it, with a quotation. This one is from Jennifer Krieger, Managing Partner at Hawthorne Fine Art in New York City. Her article entitled Women Artists of the Hudson River School formed part of the catalogue which accompanies the 2010 exhibition, Remember the Ladies: Women of the Hudson River School, which was held at Cedar Grove, The Thomas Cole National Historic Site, Catskill, New York. She wrote about the trials and tribulations of female artists and their struggle to carry out plein air painting in remote areas of the Hudson River valleys. She wrote:
“…These artists managed to make their way through vast, unexplored stretches of the American landscape and to shimmy up trees (for better views) in spite of their long skirts. Rather than complain about all that society had placed in their way…… [They] were all intent on honoring the beauty of the natural world they had experienced so directly. Rather than to complain about all that society had placed in their way, women artists pushed forward to accomplish their goals. As a result of their determination, our own cultural topography has been immeasurably enriched…”
Julie Hart Beers Kempson demonstrated that women landscape painters were the equal of men, even given the hardships of painting outdoors. While largely undervalued in her own time, her talent and dedication not only produced outstanding works of art, but also broke important ground for the female landscapists who would follow her.
|
||||
6840
|
dbpedia
|
3
| 60
|
https://www.nysm.nysed.gov/research-collections/history/cultural-history/collections/art2
|
en
|
The New York State Museum
|
[
"https://www.nysm.nysed.gov/sites/all/themes/nysm/images/shieldmark.png",
"https://www.nysm.nysed.gov/sites/all/themes/nysm/images/fatshield50.png",
"https://www.nysm.nysed.gov/sites/default/files/styles/300px_x_200px/public/banner_0.jpg?itok=uc2HcPtZ×tamp=1452804206",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/falloftheyear-detail_2010.17.1.jpg?itok=CbFAVkFJ",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/gorilla_0.jpg?itok=hb6JDQ4c",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/drawing_0.jpg?itok=qHQEaW11",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/chambercommerce_0.jpg?itok=jGV6R1C9",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/scarlett_rolph-abstract_composition-c1940-rsc0003.jpg?itok=-X9z-NUL",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/frankchase_catskillsatwoodstock.jpg?itok=wdK0Azxk",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/bellows-george-appeal_to_the_people-1923-bge0157.jpg?itok=4G4Ky4vB",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/harrison_0.jpg?itok=D-3D2oSN",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/bellows_george-four_friensds-detail.jpg?itok=cF0PgkqR",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/gottlieb-autumn_in_woodstock-1930-hgo0011.jpg?itok=bC4Us_Kj",
"https://www.nysm.nysed.gov/sites/default/files/styles/250px_square/public/reiss_winold-womain_in_black_hat_with_cigarette-detail.jpg?itok=8kUF9LBe",
"https://www.nysm.nysed.gov/sites/all/themes/nysm/images/nysedlogo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
New York State historically has been a leader in the development of the fine arts in this country. The collection at the museum features works in a range of media relating to the Empire State from the colonial period through the twentieth century: paintings, works on paper, and sculpture. Among the highlights is an extensive group of paintings, drawings, and sketchbooks by
|
en
|
https://www.nysm.nysed.gov/sites/default/files/favicon_0.ico
|
https://www.nysm.nysed.gov/research-collections/history/cultural-history/collections/art2
|
The Historic Woodstock Art Colony, The Arthur A. Anderson Collection
Long before the famous music festival in 1969, Woodstock, New York, was home to what is considered America’s first intentionally created, year-round arts colony—founded in 1902 and still thriving over 100 years later. Collecting the remarkable range of work produced there has been Arthur A. Anderson’s focus for three decades, resulting in the largest comprehensive assemblage of its type. The artists represented in it reflect the diversity of those who came to Woodstock, including Birge Harrison, Konrad Cramer, George Bellows, Eugene Speicher, Peggy Bacon, Rolph Scarlett, and Yasuo Kuniyoshi, among many others.
Anderson recently donated his entire collection—some 1,500 objects by almost 200 artists—to the New York State Museum. This exhibition introduces to the public for the first time just a sample of the highlights of this extraordinary collection, which represents a body of work that together shaped art and culture in New York and forms a history of national and international signifcance.
|
|||||
6840
|
dbpedia
|
0
| 35
|
https://www.portlandmuseum.org/collection
|
en
|
The PMA Collection — Portland Museum of Art
|
http://static1.squarespace.com/static/594bea6eccf210316877b8f2/t/5c06a12c2b6a28f18060956c/1543938349843/flav.png?format=1500w
|
http://static1.squarespace.com/static/594bea6eccf210316877b8f2/t/5c06a12c2b6a28f18060956c/1543938349843/flav.png?format=1500w
|
[
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/fbff6b69-253f-41da-86df-e8cc4cf81d5e/For-Squarespace.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/fbff6b69-253f-41da-86df-e8cc4cf81d5e/For-Squarespace.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054299265-XRBMNF0ASMJ7S2J1UKY6/Screenshot+2023-06-29+at+11.58.14+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054299265-XRBMNF0ASMJ7S2J1UKY6/Screenshot+2023-06-29+at+11.58.14+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054174867-HNRGEOZJNRO7ZIVOYONG/Screenshot+2023-06-29+at+11.56.07+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054174867-HNRGEOZJNRO7ZIVOYONG/Screenshot+2023-06-29+at+11.56.07+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055702791-2E63SFLPVKGYONR4S0YL/Screenshot+2023-06-29+at+12.21.38+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055702791-2E63SFLPVKGYONR4S0YL/Screenshot+2023-06-29+at+12.21.38+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055315432-OETTC0DUTBZSUOOMYVHI/Screenshot+2023-06-29+at+12.15.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055315432-OETTC0DUTBZSUOOMYVHI/Screenshot+2023-06-29+at+12.15.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056027722-FJAIZ93VOPZM5XF6BPL6/Screenshot+2023-06-29+at+12.27.02+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056027722-FJAIZ93VOPZM5XF6BPL6/Screenshot+2023-06-29+at+12.27.02+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056104247-P5BNNID2HPO7NV7XEC0C/Screenshot+2023-06-29+at+12.28.19+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056104247-P5BNNID2HPO7NV7XEC0C/Screenshot+2023-06-29+at+12.28.19+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055915033-F1CEG7WLF12B8VXTTDHE/Screenshot+2023-06-29+at+12.25.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055915033-F1CEG7WLF12B8VXTTDHE/Screenshot+2023-06-29+at+12.25.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056448075-6TDP83M2UYVVGBUHUZU2/Screenshot+2023-06-29+at+12.34.03+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056448075-6TDP83M2UYVVGBUHUZU2/Screenshot+2023-06-29+at+12.34.03+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056255474-4P8SH1O7E0SNGD1UBKWN/Screenshot+2023-06-29+at+12.30.41+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056255474-4P8SH1O7E0SNGD1UBKWN/Screenshot+2023-06-29+at+12.30.41+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056358025-HRSDSBEB9J4OL9QLHSGU/Screenshot+2023-06-29+at+12.32.33+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056358025-HRSDSBEB9J4OL9QLHSGU/Screenshot+2023-06-29+at+12.32.33+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055538797-I2KGNBWQTHMKLV6167YU/Screenshot+2023-06-29+at+12.18.49+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055538797-I2KGNBWQTHMKLV6167YU/Screenshot+2023-06-29+at+12.18.49+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503495637-HUUX1V0AJ3U046ONFSV4/Screenshot+2024-01-17+at+9.57.50%E2%80%AFAM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503495637-HUUX1V0AJ3U046ONFSV4/Screenshot+2024-01-17+at+9.57.50%E2%80%AFAM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503528097-21QUH4F34YNONPF1JM54/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503528097-21QUH4F34YNONPF1JM54/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054299265-XRBMNF0ASMJ7S2J1UKY6/Screenshot+2023-06-29+at+11.58.14+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688054174867-HNRGEOZJNRO7ZIVOYONG/Screenshot+2023-06-29+at+11.56.07+AM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055702791-2E63SFLPVKGYONR4S0YL/Screenshot+2023-06-29+at+12.21.38+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055315432-OETTC0DUTBZSUOOMYVHI/Screenshot+2023-06-29+at+12.15.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056027722-FJAIZ93VOPZM5XF6BPL6/Screenshot+2023-06-29+at+12.27.02+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056104247-P5BNNID2HPO7NV7XEC0C/Screenshot+2023-06-29+at+12.28.19+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055915033-F1CEG7WLF12B8VXTTDHE/Screenshot+2023-06-29+at+12.25.09+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056448075-6TDP83M2UYVVGBUHUZU2/Screenshot+2023-06-29+at+12.34.03+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056255474-4P8SH1O7E0SNGD1UBKWN/Screenshot+2023-06-29+at+12.30.41+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688056358025-HRSDSBEB9J4OL9QLHSGU/Screenshot+2023-06-29+at+12.32.33+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1688055538797-I2KGNBWQTHMKLV6167YU/Screenshot+2023-06-29+at+12.18.49+PM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503495637-HUUX1V0AJ3U046ONFSV4/Screenshot+2024-01-17+at+9.57.50%E2%80%AFAM.png",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705503528097-21QUH4F34YNONPF1JM54/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961173-V35OXASOILVK6H5MQAAB/1888.1.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961173-V35OXASOILVK6H5MQAAB/1888.1.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961267-L6G58DAAKR83J86UO1R6/1943.1_am.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961267-L6G58DAAKR83J86UO1R6/1943.1_am.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962434-76M422COETG47YEZ6B5O/1962.6.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962434-76M422COETG47YEZ6B5O/1962.6.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962905-6RI0RKNVYIRKJHLRYXF7/1982.275_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962905-6RI0RKNVYIRKJHLRYXF7/1982.275_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963892-7REIQSWRDKA32ZDHE835/1988.55.1.v1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963892-7REIQSWRDKA32ZDHE835/1988.55.1.v1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963858-TOZSC91IYMV72MSO381G/1989.38_am_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963858-TOZSC91IYMV72MSO381G/1989.38_am_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070965396-O7BR89IVJW868Y8GIG1F/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070965396-O7BR89IVJW868Y8GIG1F/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966126-3AQ3EY2WVRRQD53NQ450/1996.38.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966126-3AQ3EY2WVRRQD53NQ450/1996.38.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966863-78QDY7TQO00JLN3TBU0K/1996.38.29_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966863-78QDY7TQO00JLN3TBU0K/1996.38.29_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070967577-P99DALCZRYVRL7ZMOO98/1996.38.63_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070967577-P99DALCZRYVRL7ZMOO98/1996.38.63_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070968748-WPPOUG1J7NBMQUSILFMV/1998.96_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070968748-WPPOUG1J7NBMQUSILFMV/1998.96_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971091-QAUWFJZTKKWACZ8EPRSX/2000.47_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971091-QAUWFJZTKKWACZ8EPRSX/2000.47_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070969698-A36NRK1AJB0S9BNARZJC/2009.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070969698-A36NRK1AJB0S9BNARZJC/2009.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971271-07CCVUR60LJF4I86PDU0/2013.18_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971271-07CCVUR60LJF4I86PDU0/2013.18_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070972955-YHS2WY8BL9R568H4BJN1/2016.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070972955-YHS2WY8BL9R568H4BJN1/2016.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961173-V35OXASOILVK6H5MQAAB/1888.1.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070961267-L6G58DAAKR83J86UO1R6/1943.1_am.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962434-76M422COETG47YEZ6B5O/1962.6.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070962905-6RI0RKNVYIRKJHLRYXF7/1982.275_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963892-7REIQSWRDKA32ZDHE835/1988.55.1.v1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070963858-TOZSC91IYMV72MSO381G/1989.38_am_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070965396-O7BR89IVJW868Y8GIG1F/1992.41_pm_meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966126-3AQ3EY2WVRRQD53NQ450/1996.38.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070966863-78QDY7TQO00JLN3TBU0K/1996.38.29_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070967577-P99DALCZRYVRL7ZMOO98/1996.38.63_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070968748-WPPOUG1J7NBMQUSILFMV/1998.96_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971091-QAUWFJZTKKWACZ8EPRSX/2000.47_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070969698-A36NRK1AJB0S9BNARZJC/2009.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070971271-07CCVUR60LJF4I86PDU0/2013.18_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705070972955-YHS2WY8BL9R568H4BJN1/2016.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041171-3BM1YTK2XJRXRJIY9JZH/1973.9_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041171-3BM1YTK2XJRXRJIY9JZH/1973.9_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071037898-7VAWOYARY6H620FZY6ZE/1976.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071037898-7VAWOYARY6H620FZY6ZE/1976.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071039552-ZAI5FFPJ1PZI9AWHYQUS/1981.53_am_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071039552-ZAI5FFPJ1PZI9AWHYQUS/1981.53_am_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041699-4NLT4B6PSLJX5LXF2JO1/1982.122.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041699-4NLT4B6PSLJX5LXF2JO1/1982.122.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043303-5IIKRHCK6Y7RR1ZBY0PB/1985.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043303-5IIKRHCK6Y7RR1ZBY0PB/1985.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043794-EQTYKOHFE194OUXUIPCP/1985.99_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043794-EQTYKOHFE194OUXUIPCP/1985.99_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071044468-ZFMGB4YCTEE7SCP9UNJH/1988.14_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071044468-ZFMGB4YCTEE7SCP9UNJH/1988.14_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071045663-1FMT685G2DADDGJ2WLG3/1989.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071045663-1FMT685G2DADDGJ2WLG3/1989.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071046101-9YQNFM8L1C5QUT92BC97/1989.24_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071046101-9YQNFM8L1C5QUT92BC97/1989.24_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047014-4LI4AQA4YLQEYK9LOEDF/1991.3a%2Cb_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047014-4LI4AQA4YLQEYK9LOEDF/1991.3a%2Cb_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047257-Z6I4V3LBI9I8N0R3MO6X/2002.11.89.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047257-Z6I4V3LBI9I8N0R3MO6X/2002.11.89.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048312-W3SWPIK0EQL91N5JLF8A/2002.11.248_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048312-W3SWPIK0EQL91N5JLF8A/2002.11.248_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048518-LVYAP0MDWT74JTY7M9WS/2004.43_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048518-LVYAP0MDWT74JTY7M9WS/2004.43_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049407-DWSFE8V288GDDME03OQE/2020.9.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049407-DWSFE8V288GDDME03OQE/2020.9.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049527-TVPCTQNHU9JAUK9Q7XD5/2021.6.7a-c.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049527-TVPCTQNHU9JAUK9Q7XD5/2021.6.7a-c.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041171-3BM1YTK2XJRXRJIY9JZH/1973.9_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071037898-7VAWOYARY6H620FZY6ZE/1976.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071039552-ZAI5FFPJ1PZI9AWHYQUS/1981.53_am_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071041699-4NLT4B6PSLJX5LXF2JO1/1982.122.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043303-5IIKRHCK6Y7RR1ZBY0PB/1985.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071043794-EQTYKOHFE194OUXUIPCP/1985.99_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071044468-ZFMGB4YCTEE7SCP9UNJH/1988.14_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071045663-1FMT685G2DADDGJ2WLG3/1989.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071046101-9YQNFM8L1C5QUT92BC97/1989.24_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047014-4LI4AQA4YLQEYK9LOEDF/1991.3a%2Cb_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071047257-Z6I4V3LBI9I8N0R3MO6X/2002.11.89.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048312-W3SWPIK0EQL91N5JLF8A/2002.11.248_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071048518-LVYAP0MDWT74JTY7M9WS/2004.43_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049407-DWSFE8V288GDDME03OQE/2020.9.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071049527-TVPCTQNHU9JAUK9Q7XD5/2021.6.7a-c.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071091615-PPFHB3WUALEONJIC60FP/1968.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071091615-PPFHB3WUALEONJIC60FP/1968.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071092465-334D65RGE7XGC4OD2MXF/1991.62_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071092465-334D65RGE7XGC4OD2MXF/1991.62_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071093345-SMNDOK2EOBE3AH7PRCW9/1991.86_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071093345-SMNDOK2EOBE3AH7PRCW9/1991.86_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095491-D1M8RXDHE37RRZYQ3D9C/1992.40_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095491-D1M8RXDHE37RRZYQ3D9C/1992.40_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095748-A7U6Z5IVOJ1CHUEZ5ZD3/1994.49_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095748-A7U6Z5IVOJ1CHUEZ5ZD3/1994.49_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097166-JXR8H9D8DI0BOBZ9DBTF/1996.8.14_AT_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097166-JXR8H9D8DI0BOBZ9DBTF/1996.8.14_AT_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071096719-CRKWHIRAL2CD0L6NJHPO/1996.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071096719-CRKWHIRAL2CD0L6NJHPO/1996.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097615-ATCN1Q3IAG1NDLN868HK/1997.61_AT_Meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097615-ATCN1Q3IAG1NDLN868HK/1997.61_AT_Meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071102315-JVYAVZL676HYVL2EO5SK/1998.95_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071102315-JVYAVZL676HYVL2EO5SK/1998.95_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071098759-MJKY841T6X2Z1OYUA3QW/1998.162_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071098759-MJKY841T6X2Z1OYUA3QW/1998.162_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105052-54FO2PKRUKZIZAFROCD5/2002.53.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105052-54FO2PKRUKZIZAFROCD5/2002.53.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105614-0E6A2F2PRRE3MHZ3Q998/2011.43.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105614-0E6A2F2PRRE3MHZ3Q998/2011.43.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105994-NTZWBN01N7RRC7KY12Z8/2015.3.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105994-NTZWBN01N7RRC7KY12Z8/2015.3.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071107210-TV2UQF9GBX624UAHR48D/2021.6.10.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071107210-TV2UQF9GBX624UAHR48D/2021.6.10.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071091615-PPFHB3WUALEONJIC60FP/1968.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071092465-334D65RGE7XGC4OD2MXF/1991.62_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071093345-SMNDOK2EOBE3AH7PRCW9/1991.86_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095491-D1M8RXDHE37RRZYQ3D9C/1992.40_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071095748-A7U6Z5IVOJ1CHUEZ5ZD3/1994.49_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097166-JXR8H9D8DI0BOBZ9DBTF/1996.8.14_AT_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071096719-CRKWHIRAL2CD0L6NJHPO/1996.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071097615-ATCN1Q3IAG1NDLN868HK/1997.61_AT_Meyersphoto.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071102315-JVYAVZL676HYVL2EO5SK/1998.95_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071098759-MJKY841T6X2Z1OYUA3QW/1998.162_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105052-54FO2PKRUKZIZAFROCD5/2002.53.22_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105614-0E6A2F2PRRE3MHZ3Q998/2011.43.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071105994-NTZWBN01N7RRC7KY12Z8/2015.3.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071107210-TV2UQF9GBX624UAHR48D/2021.6.10.v4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071178034-JNXEQTB3L223K35O2XO1/1979.13.10_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071178034-JNXEQTB3L223K35O2XO1/1979.13.10_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071176841-F0B8BGKBK0M8K2CBP31T/1996.29_002_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071176841-F0B8BGKBK0M8K2CBP31T/1996.29_002_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071177885-R69CNYV1X1J77JJW56G9/2000.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071177885-R69CNYV1X1J77JJW56G9/2000.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180788-2UROKXTRGP4QVXXKREF7/2000.32_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180788-2UROKXTRGP4QVXXKREF7/2000.32_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180232-XX0B14C69I9JEE2TE8N8/2002.15_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180232-XX0B14C69I9JEE2TE8N8/2002.15_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071181240-RIVPNU9Q14UR2X1JU9YM/2010.13.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071181240-RIVPNU9Q14UR2X1JU9YM/2010.13.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071183814-6VU39TN77YGILJU8WSDJ/2012.14_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071183814-6VU39TN77YGILJU8WSDJ/2012.14_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071184056-CTA52Q9MO6L22Y4B9BA7/2013.20_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071184056-CTA52Q9MO6L22Y4B9BA7/2013.20_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071186743-ER29XO3FA2X3TW5TP24K/2015.6_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071186743-ER29XO3FA2X3TW5TP24K/2015.6_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071187200-D8DX5QMIRUIRW81OQ5DH/2017.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071187200-D8DX5QMIRUIRW81OQ5DH/2017.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071253374-UMEVHN1SDOKEQK2MO0UD/2022.12.3a-c_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071253374-UMEVHN1SDOKEQK2MO0UD/2022.12.3a-c_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071188621-Y09FI1NBIB6YHT765SDF/2019.13_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071188621-Y09FI1NBIB6YHT765SDF/2019.13_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071189160-R7LJUFLJLW6LIJKV63VJ/2019.16_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071189160-R7LJUFLJLW6LIJKV63VJ/2019.16_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190267-QE7ZZMDFI5BBJ8ZPVTJ2/2019.25_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190267-QE7ZZMDFI5BBJ8ZPVTJ2/2019.25_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190354-OZXIARC9384IZA322RLD/2021.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190354-OZXIARC9384IZA322RLD/2021.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071191960-2CCN2MNDJ3A0Z89DJRCL/2022.1.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071191960-2CCN2MNDJ3A0Z89DJRCL/2022.1.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071192899-OXT9E1UZWLCSYQM959OC/2022.12.2_pm_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071192899-OXT9E1UZWLCSYQM959OC/2022.12.2_pm_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071193023-BW1SNLYOEK80J3LFOO9R/2022.12.6a%2Cb.v1_am_karma-gallery.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071193023-BW1SNLYOEK80J3LFOO9R/2022.12.6a%2Cb.v1_am_karma-gallery.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071197063-5LFL6MOQFRI32XSHFTHH/2022.26.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071197063-5LFL6MOQFRI32XSHFTHH/2022.26.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071196975-UYOP821I8NHYOT60CV3H/2022.27.6.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071196975-UYOP821I8NHYOT60CV3H/2022.27.6.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071198512-MK13OWHNTXZSRR9BC0BC/2022.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071198512-MK13OWHNTXZSRR9BC0BC/2022.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071178034-JNXEQTB3L223K35O2XO1/1979.13.10_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071176841-F0B8BGKBK0M8K2CBP31T/1996.29_002_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071177885-R69CNYV1X1J77JJW56G9/2000.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180788-2UROKXTRGP4QVXXKREF7/2000.32_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071180232-XX0B14C69I9JEE2TE8N8/2002.15_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071181240-RIVPNU9Q14UR2X1JU9YM/2010.13.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071183814-6VU39TN77YGILJU8WSDJ/2012.14_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071184056-CTA52Q9MO6L22Y4B9BA7/2013.20_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071186743-ER29XO3FA2X3TW5TP24K/2015.6_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071187200-D8DX5QMIRUIRW81OQ5DH/2017.12_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071253374-UMEVHN1SDOKEQK2MO0UD/2022.12.3a-c_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071188621-Y09FI1NBIB6YHT765SDF/2019.13_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071189160-R7LJUFLJLW6LIJKV63VJ/2019.16_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190267-QE7ZZMDFI5BBJ8ZPVTJ2/2019.25_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071190354-OZXIARC9384IZA322RLD/2021.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071191960-2CCN2MNDJ3A0Z89DJRCL/2022.1.3_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071192899-OXT9E1UZWLCSYQM959OC/2022.12.2_pm_luc-demers.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071193023-BW1SNLYOEK80J3LFOO9R/2022.12.6a%2Cb.v1_am_karma-gallery.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071197063-5LFL6MOQFRI32XSHFTHH/2022.26.9_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071196975-UYOP821I8NHYOT60CV3H/2022.27.6.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071198512-MK13OWHNTXZSRR9BC0BC/2022.34_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071278581-XC65CYUWTI52YFTY3UQH/2.2019.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071278581-XC65CYUWTI52YFTY3UQH/2.2019.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071276789-EKY3U58O47DGHKNT3Y1N/5.2016.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071276789-EKY3U58O47DGHKNT3Y1N/5.2016.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071277897-D8KI5M9PO0OSQS3ZTQWJ/6.2004.1_cd.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071277897-D8KI5M9PO0OSQS3ZTQWJ/6.2004.1_cd.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280698-J0SQZ3XLF4Q7A8UF374U/10.2018.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280698-J0SQZ3XLF4Q7A8UF374U/10.2018.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280424-Q76JJ1DIMPP3P6O044XB/1984.214_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280424-Q76JJ1DIMPP3P6O044XB/1984.214_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071281606-BYFK2XOSRU8ON4QY7OUP/1998.74_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071281606-BYFK2XOSRU8ON4QY7OUP/1998.74_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282389-OV5SFVEMNZHNZ67B8GC0/2013.6_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282389-OV5SFVEMNZHNZ67B8GC0/2013.6_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282783-1O3C6ELXOC977BUP8JRR/2014.15.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282783-1O3C6ELXOC977BUP8JRR/2014.15.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071283986-QH7U978PFDUBFAB9OLLP/2017.14.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071283986-QH7U978PFDUBFAB9OLLP/2017.14.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285938-568ESPHPDHZVIMHMADBF/2021.17.3.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285938-568ESPHPDHZVIMHMADBF/2021.17.3.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285935-2DFKJ4ZS3F22VDZSDCIP/2022.14.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285935-2DFKJ4ZS3F22VDZSDCIP/2022.14.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287746-CUW0NYZJ2MRPQILZT0GI/2023.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287746-CUW0NYZJ2MRPQILZT0GI/2023.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287751-ULS8RLPMVL2VQXKSZHH1/2023.2.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287751-ULS8RLPMVL2VQXKSZHH1/2023.2.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071288651-6EMZA7EH1MQHCNFSFI48/2023.14.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071288651-6EMZA7EH1MQHCNFSFI48/2023.14.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071278581-XC65CYUWTI52YFTY3UQH/2.2019.5_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071276789-EKY3U58O47DGHKNT3Y1N/5.2016.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071277897-D8KI5M9PO0OSQS3ZTQWJ/6.2004.1_cd.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280698-J0SQZ3XLF4Q7A8UF374U/10.2018.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071280424-Q76JJ1DIMPP3P6O044XB/1984.214_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071281606-BYFK2XOSRU8ON4QY7OUP/1998.74_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282389-OV5SFVEMNZHNZ67B8GC0/2013.6_001_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071282783-1O3C6ELXOC977BUP8JRR/2014.15.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071283986-QH7U978PFDUBFAB9OLLP/2017.14.4_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285938-568ESPHPDHZVIMHMADBF/2021.17.3.v2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071285935-2DFKJ4ZS3F22VDZSDCIP/2022.14.2_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287746-CUW0NYZJ2MRPQILZT0GI/2023.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071287751-ULS8RLPMVL2VQXKSZHH1/2023.2.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1705071288651-6EMZA7EH1MQHCNFSFI48/2023.14.1_pm.jpg",
"https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1578501437346-FFEVM3IL1KE93JL3X622/ibec-logo-dark-title-right.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
The PMA Collection consists of more than 19,000 artworks, ranging from Andy Warhol and Winslow Homer to Louise Nevelson and Claude Monet. It would take nearly 10 years of constant gallery rotations to see everything in the museum, but now you can see it all, no matter where you are.
|
en
|
https://images.squarespace-cdn.com/content/v1/594bea6eccf210316877b8f2/1543938336881-0E0ZRMUDTYBAE14DFLFR/favicon.ico?format=100w
|
Portland Museum of Art
|
https://www.portlandmuseum.org/collection
|
In the last decade, the PMA Collection has grown more quickly than at any point in our 140-year history, featuring works by Laura Aguilar, Rackstraw Downes, Nan Goldin, Philip Guston, Reggie Burrows Hodges, Carrie Mae Weems, Kara Walker, and many more. Additionally, significant gifts from Judy Glickman Lauder, the Alex Katz Foundation, Barbara Goodbody, Richard Estes, Bruce Brown, David and Eva Bradford, and the Berger Collection Educational Trust are transforming and expanding the narratives we can tell.
The online collection database is generously supported by an anonymous foundation.
Images of artwork and associated information are for reference only. All other use is prohibited. Copyright to works of art may be retained by individuals or entities other than or in addition to the Portland Museum of Art, and are protected under U.S. copyright laws and applicable international treaties. The user is solely responsible for obtaining the permission necessary for use of any images whose copyright is not held by the Portland Museum of Art. Please contact curatorial@portlandmuseum.org for more information.
|
||
6840
|
dbpedia
|
3
| 21
|
https://www.hudsonriverschool.org/catskill-mountain-house
|
en
|
Catskill Mountain House — Hudson River Art Trail
|
https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972857169-GM4O2J3ADM6SDTMV4PLQ/favicon.ico?format=100w
|
https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972857169-GM4O2J3ADM6SDTMV4PLQ/favicon.ico?format=100w
|
[
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972846717-OQ2U9Q8SISP0PTTJGRCQ/Art+Trail+insignia+3+color.png",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972846717-OQ2U9Q8SISP0PTTJGRCQ/Art+Trail+insignia+3+color.png",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1565034524371-8ZHL07W2BBWUXHO90KLU/catskill_Mountain_house.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1565034524371-8ZHL07W2BBWUXHO90KLU/catskill_Mountain_house.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514351-D6JFM91VFV5NV7OTHY26/it_384.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514351-D6JFM91VFV5NV7OTHY26/it_384.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514906-NEK46SXVGP64VOSL1K8E/it_333.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514906-NEK46SXVGP64VOSL1K8E/it_333.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514838-RW9UKD18BBEJX2BJ2NP1/it_279.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592514838-RW9UKD18BBEJX2BJ2NP1/it_279.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592515615-TLPSRVR4CQMJ1AE1QHR0/it_345.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592515615-TLPSRVR4CQMJ1AE1QHR0/it_345.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592515900-PT7TR3US7KJ8VWZEBS4E/it_281.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592515900-PT7TR3US7KJ8VWZEBS4E/it_281.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592516583-M3MPXTYOQSA8O6CQTWAY/it_373.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592516583-M3MPXTYOQSA8O6CQTWAY/it_373.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592516941-UX0HY6KKSHRIUX9VV4OO/it_337.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592516941-UX0HY6KKSHRIUX9VV4OO/it_337.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592517550-D4KZVL9K823NNODFGLSE/it_361.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592517550-D4KZVL9K823NNODFGLSE/it_361.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592517489-JWD7LLMETNJVAA03MPRA/it_198.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559592517489-JWD7LLMETNJVAA03MPRA/it_198.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1567542234125-87YG1MES7MASQIXNTS4Z/Catskill_Mountain_House_Sarah_Cole.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1567542234125-87YG1MES7MASQIXNTS4Z/Catskill_Mountain_House_Sarah_Cole.jpg",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1559061732612-3OXVGPGI5UZQO7ZTI9IU/Art+Trail+insignia+3+color.png",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/f0adbf70-2576-4076-8d8d-44c7b0da1f56/NEH-Horizontal-Seal-Transparent820.png",
"https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/30a98a7c-548b-4374-952a-084fe838b4d6/NYSCA+Logo+White.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
https://images.squarespace-cdn.com/content/v1/5cec0723a613da0001c31544/1558972857169-GM4O2J3ADM6SDTMV4PLQ/favicon.ico?format=100w
|
Hudson River Art Trail
|
https://www.hudsonriverschool.org/catskill-mountain-house
|
Photography / Painting Credits
Thomas Cole, Catskill Mountain House, c.1845-47, oil on canvas, Private Collection.
Thomas Cole, A View of the Catskill Mountain House, 1845-48, Oil on canvas, 15 x 23 in. Courtesy of Mr. Jonathan W. Warner and the Westervelt Warner Museum of American Art.
Jasper Cropsey, Catskill Mountain House, oil on canvas, c. 1855, 29 x 44 in. The Minneapolis Institute of Arts. Bequest of Mrs. Lillian Lawhead Rinderer in memory of her brother, William A. Lawhead, and the William Hood Dunwoody Fund.
Frederic Edwin Church. Morning, Looking East over the Hudson Valley from the Catskill Mountain. Oil on canvas, 1848, 18 ¼ x 24 in. Albany Institute of History and Art. Gift of Catherine Gansevoort (Mrs. Abraham) Lansing, x1940.606.7.
Frederic Edwin Church, Above the Clouds at Sunrise, 1849, oil on canvas, 27 ¼ x 40 ¼ in. The Westervelt-Warner Museum of American Art in Tuscaloosa, AL.
Patti Ferrara, View from the Site of Catskill Mountain House, undated, photograph, 7 2/3 x 10 ¼ in. Private Collection.
Thomas Cole, View of the Catskill Mountain House, c. 1835, pen and black ink over pencil on paper, 9 3/8 x 15 ½ in. The Art Museum, Princeton University, Frank Jewett Mather, Jr. Collection.
Anonymous, View of the Cattskill Mountain House, N.Y., 1831, engraving by fenner, sears & company after Thomas Cole, 5 ¼ x 4 ¼ in. Originally published in Hinton, ed., The History and Topography of the United States, vol. 2.
Anonymous, Catskill Mountain House, 1892, Sepia on cardboard. Vedder Library, GCHS, Coxsackie, NY, 48-033.
Sarah Cole, A View of the Catskill Mountain House, 1848, oil on canvas, Albany Institute of History & Art Purchase, 1964.40
|
|||
6840
|
dbpedia
|
0
| 8
|
https://thomascole.org/gifford/
|
en
|
Sanford R. Gifford in the Catskills
|
[
"https://thomascole.org/wp-content/uploads/2016/06/tcnhs_logo-3.gif",
"https://thomascole.org/wp-content/uploads/nea-lockup-color-example-250.jpg",
"https://thomascole.org/wp-content/uploads/02_Gifford_Mt-Merino_small.jpg",
"https://thomascole.org/wp-content/uploads/SRG_Double-Self-Portrait_press_small.jpg",
"https://thomascole.org/wp-content/uploads/2017A53_406_HR_small.jpg",
"https://thomascole.org/wp-content/uploads/decor-2-big-white.png",
"https://thomascole.org/wp-content/uploads/decor-2-big-white.png",
"https://thomascole.org/wp-content/uploads/decor-2-big-white.png"
] |
[] |
[] |
[
""
] | null |
[] |
2017-03-21T17:28:32+00:00
|
en
|
https://thomascole.org/gifford/
|
Sanford R. Gifford in the Catskills features paintings by the 19th-century landscape painter Sanford Gifford, whose work was inspired by Cole. This exhibition will focus on his paintings of the Catskills – with works loaned by Harvard, Yale, Portland Museum of Art, and other leading Institutions; it is curated by Dr. Kevin Avery, Senior Research Scholar at The Metropolitan Museum of Art. The exhibition will open to the public on Tuesday, May 2, in the gallery of Cole’s 1846 “New Studio” and run through Sunday, October 29. Sanford Robinson Gifford (1823-1880) was an American landscape painter and one of the leading members of the Hudson River School, the first major art movement in America, which was founded by Thomas Cole (1801-1848). Gifford credited Cole’s works with stimulating his interest in landscape painting.
The exhibition is curated by Kevin J. Avery, Senior Research Scholar at The Metropolitan Museum of Art, and will be the first of this magnitude to be held so close to Gifford’s childhood home in Hudson, NY, directly across the Hudson River from Catskill. The exhibition will consist of about 20 paintings, which are being loaned by such renowned institutions as the Yale University Art Gallery, Harvard University Art Museums, Portland Museum of Art, and Albany Institute of History and Art, as well as private collections, including those of the artist’s descendants.
In 2003, Dr. Avery co-organized the major retrospective Hudson River School Visions: The Landscapes of Sanford R. Gifford for The Metropolitan Museum of Art and the National Gallery of Art. In the upcoming exhibition, he sharpens his focus on Gifford’s paintings of the Catskills, the mountains and valleys near Catskill that so inspired Cole. Gifford’s enchanting, seductive – sometimes even stark – interpretations of Kaaterskill Clove and Falls, High Peak and Round Top, as well as Hunter Mountain and the Hudson Valley prospect will be richly represented.
“This exhibition brings to Catskill a remarkable set of paintings that were created by one of the leaders of the Hudson River School and that depict nearby views that can be visited today on the Hudson River School Art Trail,” said Elizabeth B. Jacks, Executive Director of the Thomas Cole National Historic Site. “The reconstruction of Cole’s ‘New Studio’ unveiled last year, with its climate-controlled environment, made it possible for distinguished curator Dr. Kevin Avery to assemble these works and for the Site to secure their loan for this exquisite exhibition.”
Six of the views depicted in the Gifford paintings in the exhibition can be visited on the innovative walking-and-driving experience called the Hudson River School Art Trail, which reveals nearby settings in the Hudson Valley where visitors can experience the same views that appear in 19th-century paintings by Hudson River School artists. Those six views are located in Greene and Ulster counties and are represented in 10 of the Gifford paintings in the exhibition.
The exhibition is made possible by a grant from the National Endowment for the Arts as well as Michael Altman Fine Art & Advisory Services, the Bank of Greene County, the Greene County Legislature through the County Initiative Program of the Greene County Council on the Arts and the Kindred Spirits Society of the Thomas Cole National Historic Site. The accompanying catalogue is supported by the Barrie and Deedee Wigmore Foundation.
Read the exhibition press release.
Cover Image: Sanford R. Gifford, Study for the View from South Mountain, in the Catskills, 1873. Oil on canvas, 8? × 15½ in. Signed, lower left: S R Gifford; inscribed, on verso: South Mountain, Catskills, 1873. Portland Museum of Art, Gift of Walter B. and Marcia F. Goldfarb, 2016.22
|
|||||||
6840
|
dbpedia
|
2
| 82
|
https://www.familyvacationcritic.com/hyatt-regency-baltimore/htl/
|
en
|
Hyatt Regency Baltimore (Baltimore, MD): What to Know BEFORE You Bring Your Family
|
[
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo.svg",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/bwirb-p121-exterior.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/bwirb-p121-exterior-1.jpg.webp 550w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/bwirb-p121-exterior-1-300x172.jpg.webp 300w",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/bwirb-p121-exterior-1.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-1280x640.jpg.webp 1280w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-200x100.jpg.webp 200w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-480x240.jpg.webp 480w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-768x384.jpg.webp 768w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-1024x512.jpg.webp 1024w",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/hyatt-regency-baltimore-1280x640.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-1280x640.jpg.webp 1280w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-200x100.jpg.webp 200w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-480x240.jpg.webp 480w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-768x384.jpg.webp 768w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-1024x512.jpg.webp 1024w",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/lobby-27-1280x640.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-1280x640.jpg.webp 1280w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-200x100.jpg.webp 200w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-480x240.jpg.webp 480w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-768x384.jpg.webp 768w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-1024x512.jpg.webp 1024w",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/front-desk-5-1280x640.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/pool-v12775374.jpg.webp 550w, https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/pool-v12775374-300x245.jpg.webp 300w",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2012/11/pool-v12775374.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo-mini.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo-mini.svg",
"https://secure.gravatar.com/avatar/?s=192&d=mm&r=g 2x",
"https://secure.gravatar.com/avatar/?s=96&d=mm&r=g",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2013/06/view-from-camden-yards-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2013/06/view-from-camden-yards-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2013/06/royal-sonesta-harbor-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2013/06/royal-sonesta-harbor-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/harbor-view-guest-room-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/harbor-view-guest-room-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/brookshire-suites-sleeping-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/brookshire-suites-sleeping-1-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2016/11/exterior-203-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2016/11/exterior-203-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/hotel-exterior-16-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2009/01/hotel-exterior-16-150x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2016/01/ziplinenewyork-200x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2015/09/SantaCruz-200x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2013/08/8f7c299a306a4ae66315b6fd0e6250c0-200x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/webp-express/webp-images/doc-root/wp-content/uploads/sites/19/2016/04/vernon-200x200.jpg.webp",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo-white.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/fvc-logo-white.svg",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/subscribe-banner.webp",
"https://www.familyvacationcritic.com/wp-content/themes/fvc/assets/images/subscribe-banner.webp"
] |
[] |
[] |
[
""
] | null |
[] |
2012-11-02T18:57:28+00:00
|
Read real family reviews before you book and browse candid photos and detailed information for the Hyatt Regency Baltimore. Find useful tips from other families.
|
en
|
Family Vacation Critic
|
https://www.familyvacationcritic.com/hyatt-regency-baltimore/htl/
|
TripAdvisor Rating
4.5
Overview
Hyatt Regency Baltimore is a wonderful place for families with children to go. The hotel is within 10 miles of the Baltimore Maritime Museum, Fell’s Point and Hampton National Historic Site. A few other attractions include the Geppi’s Entertainment Museum and The Walters Art Museum. This 4-star hotel has 488 suites, it also has a nearby golf course, tennis courts, fitness center and swimming pool. Hyatt Regency Baltimore dining options include room service and onsite restaurant. LA Scala Restaurant, Faidley Seafood and Matthew’s Pizzeria are all kid-friendly eateries that are good and are near the hotel.
Hyatt Hotels are located in more than 330 locations across the U.S. cities and caters to families with its Camp Hyatt programs at its destination resorts. Each Hyatt contains at least one onsite restaurant, and kids receive a welcome amenity upon checkin. To learn more about the hotels, read Hyatt Hotels and Resorts.
Our Editor Loves
Good location
Close to attractions
Pool
Family Interests
Golf
Museum/Cultural
Family Amenities
Connecting Rooms
Onsite Dining
Pool
Reviews
Fantastic view
by minister2019
Wonderful view of the Inner Harbor from rooms.
Event sounds from there can be intrusive and unpleasant, but at least those events stop at 10 pm nightly.
Hotel is conveniently located with easy access to local attractions of all types.
Great Location
by jj23942019
The Hyatt Regency is Baltimore is in the perfect location, you can walk to everything! The Staff is very professional and very dedicated to making sure their guests are satisfied. The Bar/Restaurant is also very nice!
|
|||||
6840
|
dbpedia
|
1
| 14
|
https://www.independent.com/2010/01/21/sbma-mounts-delacroix-monet/
|
en
|
SBMA Mounts Delacroix to Monet
|
[
"https://www.independent.com/wp-content/uploads/2022/07/IndyLogo.png?fit=1200%2C339",
"https://secure.gravatar.com/avatar/14b9371eb31a9b00325ccca0e371323f?s=50&d=mm&r=g",
"https://www.independent.com/wp-content/uploads/2010/01/20/PL1_37.11.jpg",
"https://www.independent.com/wp-content/uploads/2010/01/20/Eik-Kahng-Web.jpg",
"https://www.independent.com/wp-content/uploads/2010/01/20/PL1_37.9.jpg",
"https://www.independent.com/wp-content/uploads/2010/01/20/PL1_37.150.jpg",
"https://www.independent.com/wp-content/uploads/2010/01/20/PS1_37.83.jpg",
"https://www.independent.com/wp-content/uploads/2024/08/Sensorio-Dimensions-70-1-Large.jpeg?resize=615,370",
"https://www.independent.com/wp-content/uploads/2024/08/Lobero-block-party_Ozomatli-2024-photo_Josef-Woodard.jpg?resize=615,370",
"https://www.independent.com/wp-content/uploads/2024/08/d812e3ed5d6237bd055431e2d6baedad_4096x1714_4461fedf-Large.jpeg?resize=615,370",
"https://www.independent.com/wp-content/uploads/2024/08/August-17th-Market-IG-Square-1.png?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/08/Screenshot-2024-08-11-at-2.28.30-PM.png?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/07/School-Supply-Shindig-Swap.png?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/07/image_1719850516054_6n1w6zuzy.webp?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/07/IMG_1767.jpeg?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/07/1720409656-BYLS_Flyer_with_STH_Logo_crop.png?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/05/unnamed.jpg?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/08/Going-Batty-Event.jpg?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/08/shakespeare-1.jpg?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/08/7.png?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/07/Fiesta-Courthouse-1930s-color-credit-SB-Historical-Musuem.jpg?resize=130,100",
"https://www.independent.com/wp-content/uploads/2024/08/Going-Batty-Event.jpg?resize=130,100",
"https://www.independent.com/wp-content/themes/independent/assets/img/secure90x72.gif",
"https://www.independent.com/wp-content/themes/independent/assets/img/logo@2x.png"
] |
[] |
[] |
[
""
] | null |
[
"Charles Donelan",
"Jean Yamamura",
"Callie Fausey",
"Margaux Lovely",
"Jeanne Kuang",
"Nick Welsh",
"Gina Rodarte Quiroz",
"Caitlin Scialla",
"Tyler Hayden"
] |
2010-01-21T00:00:00
|
The first show to be curated by recent arrival Eik Kahng features an all-star cast in a stunning reexamination of painting’s heroic century.
|
en
|
The Santa Barbara Independent
|
https://www.independent.com/2010/01/21/sbma-mounts-delacroix-monet/
|
As we enter cinema’s awards season, it’s worth considering the cultural origins of artistic awards. In the upcoming exhibit Delacroix to Monet: Masterpieces of 19th-Century Painting from the Walters Art Museum, opening at the Santa Barbara Museum of Art on January 30, one painting in particular calls to mind this urge to honor artists, and puts them on the most exalted stage imaginable. Called “Replica of the Hémicycle,” this neo-classical masterpiece by two artists, Paul Delaroche and his student, Charles Béranger, represents the pantheon of the world’s greatest artists, who are gathered as if to honor you, the viewer, as the latest inductee to their hall of fame. The original mural, of which this important oil painting is the only other version, occupies 27 meters of wall space at the École des Beaux-Arts in Paris, and functions as an integral part of the school’s graduation ceremony.
Laurels Earned
For the Santa Barbara Museum of Art (SBMA), Delacroix to Monet represents a similar kind of moment for the institution — a graduation to the very highest level of achievement in the category of regional museums. It demonstrates more clearly than anything that SBMA has done exactly what director Larry Feinberg meant by the “post-blockbuster” medium-sized tour de force shows he’s been promising since his arrival in March 2008. The 41 paintings that make up Delacroix to Monet not only represent all the major movements of 19th-century French art, from Neo-Classicism through Impressionism, they also stage the fundamental rivalry between neo-classicists such as Ingres and romantics such as Delacroix. Important paintings from outside of France — including a major work by J.M.W. Turner, a view of the Catskills by American Asher Durand, and Gilbert Stuart’s iconic 1835 portrait of George Washington — complete this staggeringly comprehensive view of Western art from 1795 (the date of the show’s earliest work, Rembrandt Peale’s “Portrait of Dr. Meer”) to the show’s latest work, Sir Lawrence Alma-Tadema’s “The Triumph of Titus: The Flavians” of 1885.
The Walters Art Museum reflects the taste and collecting habits of William T. Walters (1819-1894) and his son, Henry (1848-1931), a Baltimore-based father-and-son team primarily funded by successful investment in American railroads and commerce. A self-made millionaire by 1860, William Walters began collecting art with the Hudson River school, but soon found his way to Paris, where he developed a lifelong friendship and client relationship with another son of Baltimore, connoisseur and expatriate George A. Lucas. Together, they commissioned and bid on the works of virtually all the important contemporary French painters of the second half of the 19th century. What separates William Walters and his son from almost every other collector of the period is also what makes this show so exciting. The Walters, despite an early and lasting interest in the rival academic schools of Neo-Classicism and Romanticism, nevertheless understood and bought the Impressionists right from their controversial beginnings. Not only did Walters appreciate, for instance, the strikingly modern perspective of early Claude Monet, as one can see in the show’s lovely portrait “Springtime” (1872), he also had the nerve to go out in 1883 and have his portrait painted in the exaggeratedly modern manner of Edouard Manet by Impressionist Léon Joseph Florentin Bonnat.
The curator of Delacroix to Monet, Eik Kahng, is new to the museum, but she is intimately familiar with these paintings, having curated the collection at the Walters prior to taking the position here. As SBMA’s new chief curator and curator of 19th- and early-20th-century European art, Kahng will play a major role in the direction of the museum in years to come. When she put together these pictures as a traveling representation of the Walters’ holdings, she had no idea that she would be joining them on the road, never mind in Santa Barbara, which is the exhibition’s only West Coast stop. For Kahng, installing Delacroix to Monet in Santa Barbara has been like unwrapping the best gift you ever picked out — and without knowing in advance that you would be receiving it yourself. For Santa Barbara, this fortunate coincidence is also a gift, as we are getting not just a great show and a top curator, but the fruits of a substantial scholarly engagement with one of the world’s most important collections of 19th-century art.
As a result of her keen appreciation not only of the 41 works of art on view, but also of the opportunity to display them at SBMA, Kahng has crafted a bold exhibition plan that takes full advantage of the museum’s two largest adjacent spaces, the McCormick and Davidson galleries. The McCormick will tell the story of French painting as a series of intriguing aesthetic episodes, beginning with Romanticism and Neo-Classicism and progressing through Orientalism to the urban Impressionism of Manet. In the Davidson, the break between two schools of landscape painting, Barbizon and Impressionism, takes center stage. As an example of just how exciting this show will be, imagine this opening sequence: a giant Turner flanked by wall text guarding the entrance to the McCormick Gallery, followed by two important Delacroix paintings of Jesus Christ on one wall, and Gilbert Stuart’s George Washington on the other. And that’s all before you enter the main room.
Portraits in Dialogue
Dominating the longest sightlines of each space are a pair of portraits drawn from the polar oppositions that embody the exhibition’s strongest theme, which is the dawn of modern subjectivity out of the combustible atmosphere of academic competition. At one end of the McCormick Gallery, Oedipus confronts the Sphinx in “Oedipus and the Sphinx” (1864), an eerie picture by neo-classical master Jean Auguste Dominique Ingres. It’s an astounding work, and represents a heroic Oedipus who confronts and outwits the Sphinx despite the knowledge that a mistake would certainly cost him his life. Abstract expressionists Willem de Kooning and Barnett Newman worshipped Ingres, whose smooth, luminous surfaces and distorted figures and poses were a kind of abstraction avant la lettre. Curator Kahng, coyly referencing Freud, assured me that “this kind of placement is never an accident.”
Opposite Oedipus, in the analogous position at the end of the show, is a portrait of William T. Walters, the owner of the collection. It’s an extraordinary Impressionist work by Léon Joseph Florentin Bonnat from 1883, and it references an indelible icon of early Modernism, Edouard Manet’s 1880 portrait of the young Georges Clemenceau. Nothing could be more different from Ingres’s highly imaginary Oedipus than Bonnat’s life-sized snapshot of the imposingly real collector Walters. Yet, somehow, in the journey from ancient Greek tragedy to modern selfhood, extremes have been made to meet. Walters’s self-possession before the terrible honesty of the Impressionist gaze mirrors the confident way in which Oedipus confronts the potentially death-dealing Sphinx. It’s as though he were offering the history of painting as a civic gift to a beleaguered Baltimore, the riddle of her modernity to be solved by careful attention to his art collection.
A Metropolitan Museum of Art in Miniature
A wide range of real masterpieces by Pissarro, Degas, Sisley, Millet, and Millais appear throughout this show, lending credence to the Walters Art Museum’s claim to being a kind of mini-Metropolitan. What’s more, old rivalries and recent ideas from art historical scholarship percolate through the installation. In fact, the exhibit recalls an era — the latter half of the 19th century — when serious painting, more than theater, and rivaled only by literature, occupied the prestigious central position in popular culture accorded to motion pictures today. The arrival in Paris of the Napoleonic booty that founded the Louvre collection initiated an access to the masterpieces of the Renaissance and antiquity that in turn begat the French Academy style with its worship of Raphael and the opposing school of Romanticism that looked to Rubens for inspiration. The Paris Salons of the 1860s and 1870s generated the kind of buzz we get today from film festivals, and overflowed with gossip and excitement as well-financed artist/auteurs competed for such public laurels as the prestigious Prix de Rome.
This show really does appear as if it were a red carpet full of stars. There’s Edouard Manet, king of the urban hipsters, or flâneurs as they were known in the Paris of Baudelaire and Balzac. Over there are the Orientalists, masters of the exotic and the vividly sensual fantastic. Once wildly popular, then brushed aside before finally being dismissed as imperialist ideologues, artists such as the Dutch painter Sir Lawrence Alma-Tadema and the Spanish Mariano José María Bernardo Fortuny y Carbó are, alongside the great French Romantic Eugène Delacroix, reemerging as emblematic figures in an ongoing international debate about the meaning of East/West polarity. For younger scholars such as Kahng, Edward Saïd’s critique of Orientalism was the stuff of undergraduate seminars, and these pictures are, through the magic of a generational renewal of perspective, once again available to fresh scholarly eyes and ideas. Where others in an earlier generation might have seen decorative images masking strategies of domination, today’s art historians observe the widening split between the formal ceremonies of cultural identity and the lived realities of mixed messages and indeterminate subjectivities.
Kahng makes a particularly strong case for Fortuny, placing him in a triumvirate between Goya on one side and Picasso on the other as the third most important modern Spanish artist. Certainly his two pictures in this exhibit, along with the reappraisal and celebration of his work going on in places like Southern Methodist University’s Meadows Museum in Texas, bear this judgment out. His “Portrait of an Ecclesiastic” (1874) predicts Francis Bacon’s screaming Pope perhaps more effectively even than its ostensible model by Velázquez. Fortuny painted his portrait of the ravages of religious office in the last year of his own life while in residence in Venice, the city that would provide a home and an atelier to his son, the famous designer and innovator in theatrical lighting.
The Painting of Modern Life
The whole first gallery, the McCormick, thus restages the 19th century’s high-stakes battle for control of and primacy within the visual field. At first it is myth that rivals history as the master subject for painting, then the exotic, and finally the modern and urban, but in a brilliant stroke, the exhibition turns in its second space, the Davidson, and phases from this struggle to another, supposedly more familiar one — the fight for the landscape. The story of 19th-century landscape painting generally is rendered as the displacement of traditional Barbizon landscape by Impressionism, and the exhibit does not so much contradict that version as restage it in a larger context.
In Delacroix to Monet, the familiar “triumph” of Impressionism reclaims its shock of the new from decades of mediocre reproductions and the neutralized homogeneity of endless calendars. Here, the sharp break signaled by technique, rather than promoting a “soft” version of the Impressionist vision, instead implies a fundamental change in world view, the visual equivalent of a scientific paradigm shift, with all the magnitude and consequences of the Copernican or quantum revolutions. In other words, the Impressionists did much more than find pretty ways to paint the atmosphere or let their brushstrokes show. They stepped through the looking glass of history into a radical project to portray the present moment from the point of view of a unique individual. Unlike the schools of the academy, in which deviation from the norm was defined as error, the Impressionists insisted on developing distinct and recognizable individual styles.
Was this emphasis on individuality a protest against the direction of history, with its harbingers of nationalist apocalypse to come? Or was it simply an anti-historical concept reflecting their collective faith in the inherent value of the present moment? Either way, Delacroix to Monet challenges the viewer to return to this watershed aesthetic divide and re-experience it along different and better-informed lines. By understanding the nuances of the academic painting that preceded the familiar Impressionist masters, one may freshen the sense of what Kahng terms “the utter rapidity of change in the art world” so characteristic of the modern era. Like the heroically reticent collector William T. Walters of Bonnat’s portrait, we may now stare the Sphinx of modern life in the eye and utter our own solution to the riddle of its representation.
4•1•1
|
|||||
6840
|
dbpedia
|
0
| 58
|
https://www.davidbyrdestate.com/exhibitions
|
en
|
Exhibitions — DAVID BYRD
|
https://assets.squarespace.com/universal/default-favicon.ico
|
https://assets.squarespace.com/universal/default-favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
An extensive list of one-person and group exhibitions of David Byrd both in US and internationally
|
en
|
https://assets.squarespace.com/universal/default-favicon.ico
|
DAVID BYRD
|
https://www.davidbyrdestate.com/exhibitions
|
EXHIBITIONS
SOLO EXHIBITIONS
2024
Scroll Flask and Hand, 42 Carlton Place, Glasgow, Scotland, June 6 - 23, 2024
David Byrd, Matthew Brown Gallery, Los Angeles, CA. February 22 – March 30, 2024 Talk by Matthew Higgs
2023
Art Basel Switzerland, Kabinett Sector: David Byrd, Anton Kern Gallery, June 13-18, 2023 https://www.antonkerngallery.com/exhibitions/426-david-byrd-art-basel-kabinett/
2021-2022
In Resonance with David Byrd, Fleisher/Ollman Gallery, Philadelphia, PA, November 18, 2021 – January 22, 2022
2021
Montrose VA 1958-1988,Greg Kucera Gallery, Seattle, WA, October 14 – November 20, 2021
Montrose VA 1958-1988, Anton Kern Gallery, New York, NY, February 25, 2021 – April 3, 2021
2019
Art Basel Miami Beach, Kabinett Sector: David Byrd, Anton Kern Gallery,December 5 – 8, 2019
Anton Kern Gallery, New York, NY, February 7, 2019 – March 9, 2019
White Columns, New York, NY, January 17, 2019 – March 9, 2019
2018
Patient Pondering, Fleisher Ollman Gallery, Philadelphia, PA,
September 13 – November 10, 2018
2017
DAVID BYRD: Ten Stops was an art pilgrimage of ten exhibitions that illuminated the life and artistic trajectory of artist David Byrd. Each exhibition in the series, including a retrospective at the home and studio Byrd designed and built in the Catskills, highlighted a specific theme and was shown in a location that correlated to the work. link
David Byrd – Coming Alive: Drawings and Paintings
Greg Kucera Gallery Seattle, WA, November 1 – December 23, 2017
On and Off the Ward: David Byrd Paints Montrose V.A.
The Field Gallery, Peekskill, NY, September 9 – October 8, 2017
Auction Action: The Art of David Byrd
Art Garage, Cooperstown, NY, September 8 – October 8, 2017
VIGNETTES: David Byrd Paints Delaware County
Delaware County Historical Association , Delhi, NY, August 1 – October 8, 2017
David Byrd: Flicks, Bouts, Blocks
Studio 10, Bushwick, Brooklyn, NY, July 20 – August 6, 2017
David Byrd, A Life
David Byrd Home & Studio, Sidney Center, NY,July 8 – September 30, 2017
The Dramatic Gesture: Paintings of David Byrd
Franklin Stage Company, Franklin, NY, July 1 – July 30, 2017
2015David Byrd: War Is Always With Us
Catherine G. Murphy Gallery at St Catherine University, St. Paul. Minnesota, November 7 – December 20, 2015
David Byrd: War Is Always With Us
Edgewood College Gallery, Madison, WI, August 20 – October 18, 2015
ADAA: The Art Show
Park Ave Armory, New York, NY, March 4 – March 8, 2015
David Byrd: Voices; Paintings From Montrose V.A. Hospital
Walter Mead Gallery, Roxbury Arts Center, Roxbury NY, January 17 – February 21, 2015
2013
David Byrd: Seeing What Is There
Martin-Mullen Gallery, SUNY-Oneonta, NY, November 11 – December 20, 2013
David Byrd Introduction: A Life of Observation
Greg Kucera Gallery, Seattle, Washington, April 4 – May 18, 2013
2012
David Byrd: Painting and Sculpture
Maywood Arts, Sidney Center, New York, September 29 – October 31, 2012
GROUP EXHIBITIONS
2024
The Campus, Claverack, NY, June 29-October 31,2024, by Bortolami, James Cohan, kaufmann repetto, kurimanzutto, Andrew Kreps, and Anton Kern. Organized by Timo Kappeller
Anton Kern Gallery, Art Basel, Basel, Switzerland, June 11 – 16, 2024
Mind’s Eye, Winter Street Gallery, Edgarton,MA., May7-June 2, 2024
Frieze NY, The Shed, 545 W 30th St, New York, NY 10001, N.Y., May 1– 5, 2024
2023
Place-World, Sean Horton Gallery, New York, NY, September 7th – October 7, 2023
Anton Kern Gallery, Art Basel, Miami Beach, Convention Center, Pulse, Miami, Fla., December 8–10, 2023.
Moth and the Thunderclap, Stuart Shave Modern Art in St. James, London, curated by Simon Grant, Feb 4 – March 18, 2023
2022
Blind Field,1969 Gallery, NYC, curated by Matt Bollinger, November 3 – December 18, 2022 PDFSplendid Isolation, S.M.A.K., the Municipal Museum of Contemporary Art in Ghent, Ghent, Belgium,View exhibition, May 13–Sept. 18, 2022
Space, Laurel Gitlen Gallery, New York, N.Y., March 5 – April 16, 2022.
2021
Art Basel, Switzerland, Anton Kern Gallery, September 24 – 26, 2021
Tales of Manhattan – 25th Anniversary, Anton Kern Gallery, New York, NY, July 10 – August 20, 2021.
2019
FIAC (International Contemporary Art Fair), Anton Kern Gallery, Paris, France, October 17 – 20, 2019
Art Basel Switzerland, Anton Kern Gallery, June 16 – 21, 2019
Independent New York, White Columns, March 7 – 10, 2019
Balice Hertling Galerie, Paris, France, Nov 30, 2018 – Jan 19, 2019
2018
NADA Miami Beach, Adams & Ollman, December 6 – 9, 2018
2017
David Byrd at West Point
West Point Museum, West Point, NY, July 10 – October 22, 2017
Sanctuary(n): a refuge or safe place
Smithy Gallery,Cooperstown, NY, August 7 – Sept. 3, 2017
2016
OUTSIDE-as in: out-of-doors, as in: not belonging to.
Curated by Matthew Higgs, Karma, Amagansett, NY, September 3 – September 25, 2016
NADA, New York, Horton Gallery, May 5 – 8, 2016 PDF
2015
David Byrd and Peter Gallo
Zieher Smith and Horton, New York, NY, November 17 – December 19, 2015
COLLECTIONS
Rhode Island School of Design (RISD) Museum
Frances Lehman Loeb Arts Center, Vassar College
HE Art Museum, Foshan, Guangdong Province, China
SYMPOSIUMS
Voices in Conjunction with National Alliance on Mental illness on Campus, SUNY Oneonta, NY, April 21, 2016 PDF
Ananya Dance Theater, St Catherine University, St Paul, MN, December 10, 2015
Veterans, Art and Mental Health Edgewood College, Madison, WI, September 18, 2015 PDF
Hope & Healing: Perspectives on Mental Illness 2
Guilford New York, June 6, 2015
|