Split (1)

train · 2.09M rows

identifier stringlengths 1 43	dataset stringclasses 3 values	question stringclasses 4 values	rank int64 0 99	url stringlengths 14 1.88k	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 ⌀	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
6840	dbpedia	1	71	https://kids.kiddle.co/Frederic_Edwin_Church	en	Frederic Edwin Church facts for kids	https://kids.kiddle.co/i…oleon_Sarony.jpg	https://kids.kiddle.co/i…oleon_Sarony.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/b/b2/Photograph_of_Frederic_Edwin_Church_by_Napoleon_Sarony.jpg/300px-Photograph_of_Frederic_Edwin_Church_by_Napoleon_Sarony.jpg", "https://kids.kiddle.co/images/thumb/b/ba/New_England_Scenery%2C_Frederic_Edwin_Church%2C_1851_-_Museum_of_Fine_Arts%2C_Springfield%2C_MA_-_DSC03984.JPG/300px-New_England_Scenery%2C_Frederic_Edwin_Church%2C_1851_-_Museum_of_Fine_Arts%2C_Springfield%2C_MA_-_DSC03984.JPG", "https://kids.kiddle.co/images/thumb/7/78/Church_Heart_of_the_Andes.jpg/300px-Church_Heart_of_the_Andes.jpg", "https://kids.kiddle.co/images/thumb/6/60/Cotopaxi_church.jpg/300px-Cotopaxi_church.jpg", "https://kids.kiddle.co/images/thumb/9/93/Brooklyn_Museum_-_Tropical_Scenery_-_Frederic_Edwin_Church_-_overall.jpg/300px-Brooklyn_Museum_-_Tropical_Scenery_-_Frederic_Edwin_Church_-_overall.jpg", "https://kids.kiddle.co/images/thumb/c/cb/OurBannerInTheSky1861_FrederickEdwinChurch_83d40m_wp.png/300px-OurBannerInTheSky1861_FrederickEdwinChurch_83d40m_wp.png", "https://kids.kiddle.co/images/thumb/b/b1/Olana%2C_August_2015.jpg/300px-Olana%2C_August_2015.jpg", "https://kids.kiddle.co/images/thumb/4/41/Frederic_Edwin_Church_by_Napoleon_Sarony.jpg/235px-Frederic_Edwin_Church_by_Napoleon_Sarony.jpg", "https://kids.kiddle.co/images/thumb/b/b9/The_Icebergs_%28Frederic_Edwin_Church%29%2C_1861_%28color%29.jpg/300px-The_Icebergs_%28Frederic_Edwin_Church%29%2C_1861_%28color%29.jpg", "https://kids.kiddle.co/images/thumb/9/9d/Frederic_Edwin_Church%2C_The_Andes_of_Ecuador%2C_c._1855%2C_HAA.jpg/200px-Frederic_Edwin_Church%2C_The_Andes_of_Ecuador%2C_c._1855%2C_HAA.jpg", "https://kids.kiddle.co/images/thumb/f/fb/Frederic_Edwin_Church_-_Cotopaxi_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Cotopaxi_-_Google_Art_Project.jpg", "https://kids.kiddle.co/images/thumb/6/61/Cross_in_the_Wilderness_Frederic_Edwin_Church.jpg/200px-Cross_in_the_Wilderness_Frederic_Edwin_Church.jpg", "https://kids.kiddle.co/images/thumb/c/c4/Frederic_Edwin_Church_-_Niagara_Falls_-_WGA04867.jpg/200px-Frederic_Edwin_Church_-_Niagara_Falls_-_WGA04867.jpg", "https://kids.kiddle.co/images/thumb/2/2d/Frederick_Edwin_Church_-_Morning_in_the_Tropics_-_Walters_37147.jpg/200px-Frederick_Edwin_Church_-_Morning_in_the_Tropics_-_Walters_37147.jpg", "https://kids.kiddle.co/images/thumb/9/98/Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_%283%29.jpg/200px-Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_%283%29.jpg", "https://kids.kiddle.co/images/thumb/7/73/Oosisoak_Frederic_Edwin_Church.jpg/147px-Oosisoak_Frederic_Edwin_Church.jpg", "https://kids.kiddle.co/images/thumb/8/8f/Frederic_Edwin_Church_-_Rainy_Season_in_the_Tropics_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Rainy_Season_in_the_Tropics_-_Google_Art_Project.jpg", "https://kids.kiddle.co/images/thumb/f/fb/Frederic_Edwin_Church_-_Niagara_Falls%2C_from_the_American_Side_-_Google_Art_Project.jpg/176px-Frederic_Edwin_Church_-_Niagara_Falls%2C_from_the_American_Side_-_Google_Art_Project.jpg", "https://kids.kiddle.co/images/thumb/b/b9/Church_Frederick_Edwin_Jerusalem_from_the_Mount_of_Olives.jpg/200px-Church_Frederick_Edwin_Jerusalem_from_the_Mount_of_Olives.jpg", "https://kids.kiddle.co/images/thumb/5/54/Parthenon_%281871%29_Frederic_Edwin_Church.jpg/200px-Parthenon_%281871%29_Frederic_Edwin_Church.jpg", "https://kids.kiddle.co/images/thumb/c/c9/1872%2C_Church%2C_Frederic_Edwin%2C_Passing_Shower_in_the_Tropics.jpg/200px-1872%2C_Church%2C_Frederic_Edwin%2C_Passing_Shower_in_the_Tropics.jpg", "https://kids.kiddle.co/images/thumb/e/eb/El_Khasne_Petra.jpg/159px-El_Khasne_Petra.jpg", "https://kids.kiddle.co/images/thumb/1/1c/Aegean_Sea_Frederic_Edwin_Church.jpg/200px-Aegean_Sea_Frederic_Edwin_Church.jpg", "https://kids.kiddle.co/images/thumb/d/da/Frederic_Edwin_Church_-_Aurora_Borealis_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Aurora_Borealis_-_Google_Art_Project.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Frederic Edwin Church facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Frederic_Edwin_Church	Frederic Edwin Church (May 4, 1826 – April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States. Biography Beginnings Frederic Edwin Church was a direct descendant of Richard Church, a Puritan pioneer from England who accompanied Thomas Hooker on the original journey through the wilderness from Massachusetts to what would become Hartford, Connecticut. Church was the son of Eliza (1796–1883) and Joseph Church (1793–1876). Frederic had two sisters and no surviving brothers. His father was successful in business as a silversmith and jeweler and was a director at several financial firms. His mother's brother was Adrian Janes, who owned an iron foundry that constructed the U.S. Capitol Dome. The family's wealth allowed Frederic to pursue his interest in art from a very early age. In 1844, aged 18, Church became the pupil of landscape artist Thomas Cole in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Athenaeum in Hartford, Connecticut, introduced the two. Church studied with him for two years; by this time his talent was evident. Cole wrote Church had "the finest eye for drawing in the world". During his time with Cole he travelled around New England and New York to make sketches, visiting East Hampton, Connecticut, Long Island, Catskill Mountain House, The Berkshires, New Haven, Connecticut, and Vermont. His first recorded sale was in 1846 to the Wadsworth Athenaeum for $130; it was a pastoral painting depicting Hooker's journey in 1636. In 1848, he was elected the youngest Associate of the National Academy of Design. He was promoted to full member the following year and began to take in his own students including Walter Launt Palmer, William James Stillman and Jervis McEntee. Style and influences Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the rationalism of the Age of Enlightenment. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes with emphasis on its grand scale. This tradition carried on in the works of Church, who idealizes an uninterrupted nature, highlighted by his excruciatingly detailed art. The emphasis on nature is encouraged by low horizontal lines and a preponderance of sky. Church usually "hid" his brushstrokes so that the painting surface was smooth and the painter's "personality" seemingly absent. Church was the product of the second generation of the Hudson River School, a movement in American landscape art founded by his teacher Thomas Cole. Both Cole and Church were devout Protestants, and the latter's beliefs played a role in his paintings, especially his early canvases. Hudson River School paintings were characterized by their focus on traditional pastoral settings, especially the Catskill Mountains, and their Romantic qualities. They attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the appreciation of natural beauty. His American frontier landscapes show the "expansionist and optimistic outlook of the United States in the mid-nineteenth century." Church differed from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory—though Church's work has increasingly been re-examined in terms of themes and meanings. The Prussian explorer and scientist Alexander von Humboldt was a major influence on Church. In his Kosmos, Humboldt put forth a vision of the interconnectedness of science, the natural world, and spiritual concerns. Kosmos, which Church owned, dedicated a chapter to landscape painting; Humboldt gave an important role to the visual artist in "scientifically" portraying the diversity of nature, especially in the New World. As Charles Darwin's theory of evolution began to overturn Humboldt's ideas of unity in the 1860s, art historians have examined how Church's painting responded to this disruption in Church's world view. The English art critic John Ruskin was another important and big influence on Church. In Ruskin's Modern Painters, he emphasizes the close observation of nature: "the imperative duty of the landscape painter [is] to descend to the lowest details with undiminished attention. Every class of rock, every kind of earth, every form of cloud, must be studied with equal industry, and rendered with equal precision." This attention to detail must be combined with the artist's interpretation, impressions, and imagination to achieve great art. While Church's paintings were widely praised in the 1850s and 1860s, some critics found his detailed panoramas lacking in the imaginative or poetic. In his 1879 American Painters, George W. Sheldon wrote of Church's canvases, "It is scarcely necessary to ... explain what their principal defect is, because, by this time, that defect must have been recognized by almost every intelligent American lover of art. It consists in the elaboration of details at the expense of the unity and force of sentiment.... They are faithful and beautiful, but they are not so rich as they might be in the poetry, the aroma, of art. The higher and spiritual verities of Nature are the true home of landscape art." Some of Church's paintings relate to, and influenced, the luminist landscape style as well. Luminist art tends to emphasize horizontals, use non-diffuse light, and hide brushstrokes such that the painter's presence, or "personality", is less apparent to the viewer. An exhibition book considers Church's Morning in the Tropics and Twilight in the Wilderness to highlight the style's "meticulous draftsmanship and intense colors", while Cotopaxi and The Parthenon "exemplify the style ... in their panoramic structure". Nevertheless, Church is not considered a primarily luminist artist. Career Church began his career by painting classic Hudson River School scenes of New York and New England, but by 1850, he had settled in New York. He exhibited his art at the American Art Union, the Boston Art Club, and (most impressively for a young artist) the National Academy of Design. His method consisted of creating paintings in his studio based on sketches in nature. In the earlier years of his career, Church's style was reminiscent of that of his teacher, Thomas Cole, and epitomized the Hudson River School's founding styles. As his style progressed he departed from Cole's approach: he painted in more elaborate detail and his compositions became more adventurous in format, sometimes with dramatic light effects. Church quickly earned a reputation as a traveler-artist, with early domestic painting and sketching trips to the White Mountains, western Massachusetts, the Catskills, Hartford, Conn, Niagara, Virginia, Kentucky, and Maine. He made two trips to South America in 1853 and 1857 and stayed predominantly in Quito, visiting the volcanoes and cities of modern day Colombia and Ecuador, and crossing the isthmus of Panama. The first trip was with businessman Cyrus West Field, who financed the voyage, hoping to use Church's paintings to lure investors to his South American ventures. Church was inspired by Alexander von Humboldt's exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt's Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in Humboldt's footsteps. When Church returned to South America in 1857 with painter Louis Rémy Mignot, he added to his sketches of the area. After both trips, Church had produced a number of landscapes of Ecuador and the Andes, such as The Andes of Ecuador (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi (1862). The Heart of the Andes, Church's most famous painting, pictures several elements of topography combined into an idealistic, broad portrait of nature. The painting was very large, yet highly detailed; every species of plant and animal is identifiable and numerous climate zones appear at once. As he had with Niagara before, Church debuted The Heart of the Andes in a single-painting exhibition in New York City in 1859. Thousands of people paid to see the painting, with the painting's huge floor-based frame playing the part of a window looking out on the Andes. The audience sat on benches to view the piece, sometimes using opera glasses to get close, and Church strategically arranged the room to illuminate the painting with the light from overhead skylights. The work was an instant success. Church eventually sold it for $10,000, at that time the highest price ever paid for a work by a living American artist. Church’s friendship with Dr. Isaac Israel Hayes, a prominent arctic explorer, stimulated the artist’s interest in the arctic regions. In 1859, Church and his good friend Rev. Louis Legrand Noble traveled to Newfoundland and Labrador. The journey was chronicled in Noble’s book After Icebergs with a Painter (1861), published shortly before Church’s painting “The Icebergs” went on display. By 1860, Church was the most renowned American artist. In his prime, Church was a commercial as well as an artistic success. Church's art was very lucrative; he was reported to be worth half a million dollars at his death in 1900. In 1861, at the start of the Civil War, Church was inspired to paint Our Banner in the Sky by a sunset featuring red, white, and blue that he believed was a symbol that "the heavens indicated their support for the United States by reflecting the nation's colors in the setting sun". A lithograph was made from it and sold to benefit the families of Union soldiers. In 1863, he was elected an Associate Fellow of the American Academy of Arts and Sciences. Family, later travels, and Olana In 1860, Church bought a farm near Hudson, New York and married Isabel Mortimer Carnes (born 1836, of Dayton, Ohio), whom he had met during the New York exhibition of The Heart of the Andes. They soon started a family, but their two-year-old son Herbert and five-month-old daughter Emma both died of diphtheria in March 1865. Still grief stricken, Church, his wife, and a young artist they befriended traveled to Jamaica. Church sketched while Isabel made a collection of pressed Jamaican ferns. He and his wife started a new family with the birth of Frederic Joseph in 1866, followed by Theodore Winthrop in 1869, Louis Palmer in 1870 and Isabel Charlotte ("Downie") in 1871. In late 1867, Church began the longest period of travel of his career. That fall he and his family went to Europe, moving through London and Paris fairly quickly. From Marseille they went to Alexandria, Egypt, but Church did not visit the pyramids, perhaps being afraid to leave his family alone. Passing through Jaffa, they arrived at Beirut, where they spent four months. They stayed with American missionaries, including David Stuart Dodge. In February 1868 Church travelled with Dodge to the city of Petra by camel from Jerusalem. There he sketched the Al Khazneh tomb, which became the subject of one of his important later works, El Khasné, Petra (1874). Later that spring the family visited Damascus and Baalbek, then sailed the Aegean Sea with a stop in Constantinople. Back in southern Europe by summer, they wintered in Rome. There were many American artists in Rome that year, and they joined several artist/friends, including Sanford Robinson Gifford, Jervis McEntee and other friends who were also living in Rome. While in Rome, Church learned fresco painting, and made a collection of “Old Masters” paintings. However, apparently Europe on the whole did not seem to interest Church as it did most American artists of the 19th century, many of whom traveled there to experience the Western artistic heritage. Leaving his expanded family in Rome with friends, Frederic made a two-week visit to stay in Athens ended the journey in April 1869. At Athens the Parthenon exceeded all his expectations as the finest single specimen of architecture in the world, and he sketched and painted energetically. The Churches left Rome in May 1869, and made their way home via Paris and England, arriving home by the end of June. Before departing the United States for that trip, Church purchased the 18 acres (7.3 ha) on the hilltop above his Hudson farmland, which he had long wanted for its magnificent views of the Hudson River and the Catskills. In 1870, he began the construction of a Persian-inspired mansion on the hilltop, and the family moved into the home in the summer of 1872. Today this estate is conserved as the Olana State Historic Site. Richard Morris Hunt was consulted early on in the plans for the mansion at Olana, but after the Churches' trip, the English-born American architect Calvert Vaux was hired to complete the project. Church was deeply involved in the process, even completing his own architectural sketches for its design. This highly personal and eclectic building incorporated many of the design ideas that he had acquired during his travels. In one letter of the period, he wrote “I have made about 1 3/4 miles of road this season, opening entirely new and beautiful views. I can make more and better landscapes in this way than by tampering with canvas and paint in the studio." He devoted much of his energy during his last twenty years to Olana. Church had been enormously successful as an artist. In his last decades, illness limited Church's ability to paint. By 1876, Church was stricken with rheumatoid arthritis, making painting difficult. He eventually painted with his left hand and continued to produce works, although at a much slower pace. He still taught painting as Cole had before him. Two students were Walter Launt Palmer, son of his close friend Erastus Dow Palmer, and Howard Russell Butler. In later life he often wintered in Mexico, where he taught Butler. Spending time at Olana and in Mexico, Church was less exposed to trends in New York City. He kept a studio there into the 1880s, but it was usually sublet to Martin Johnson Heade. His wife Isabel had been ill for years, and she died on May 12, 1899, at the home of their late friend and patron, William H. Osborn, on Park Avenue in New York. Less than a year later, on April 7, 1900, at the age of 73, Church also died at the home of Osborn's widow. Frederic and Isabel were buried in the family plot at Spring Grove Cemetery, Hartford, Connecticut. Legacy In the last decades of his life Church's fame dwindled, and by his death in 1900 there was little interest in his work. His paintings were seen as part of an "old-fashioned and discredited" school that was too devoted to details. His reputation improved with a 1945 exhibition devoted to the Hudson River School at the Art Institute of Chicago, and that year the Metropolitan Museum of Art Bulletin revisited the original reception of The Heart of the Andes. In 1960 art historian David C. Huntington completed a dissertation on Church that explored his influences and milieu. By 1966 he had written a monograph on Church and organized the first exhibition devoted to Church since his death, for the National Collection of Fine Arts. Huntington recognized Church's estate as his greatest artwork and spearheaded the effort to preserve Olana when the property, which had been preserved largely as Church created it by later generations of the family, was threatened with destruction. He spearheaded a two-year campaign to save Frederic Church's Olana, resulting in a public-private partnership that created Olana State Historic Site. Church's legacy was rekindled; American museums began to acquire his works, and by 1979 Church's The Icebergs sold for $2.5 million, then the third-highest auction for any work of art. The next year the National Gallery of Art held a major exhibition, American Light: The Luminist Movement, 1825–1875, which positioned Church as the leading American painter of his time. Church's paintings, more confident and on a grander scale than those of his contemporaries, uniquely captured the spirit of an optimistic American people who associated the landscape of the New World with manifest destiny. Art historian Barbara Novak wrote that Church was "a paradigm of the artist who becomes the public voice of a culture, summarizing its beliefs, embodying its ideas, and confirming its assumptions." Olana State Historic Site is now owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, Taconic Region, and with its curatorial work, visitor services, and external relations managed by The Olana Partnership, a private, non-profit organization. In 1999, just before the centenary of Church’s death, The Olana Partnership established the Frederic Church Award to honor individuals and organizations who make extraordinary contributions to American art and culture. Gallery Main article: List of works by Frederic Edwin Church The Andes of Ecuador, 1855, Reynolda House Museum of American Art Cotopaxi, 1855 Cross in the Wilderness, 1857 Niagara,1857, Frederic Edwin Church, National Gallery of Art, Washington, DC. Morning in the Tropics, ca. 1858, The Walters Art Museum, Baltimore Twilight in the Wilderness, 1860, Cleveland Museum of Art Oosisoak, 1861 Rainy Season in the Tropics, 1866, Fine Arts Museums of San Francisco Niagara Falls, from the American Side, 1867 Jerusalem from the Mount of Olives, 1870, The Nelson-Atkins Museum of Art The Parthenon, 1871, The Metropolitan Museum of Art Passing Shower in the Tropics, 1872, Princeton University Art Museum El Khasné, Petra, 1874, Olana State Historic Site The Aegean Sea, c. 1877, Metropolitan Museum of Art Aurora Borealis, 1865, Smithsonian American Art Museum See also
6840	dbpedia	3	87	https://www.catskillartspace.org/about	en	About — Catskill Art Space	https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/25c86391-4a72-4c68-8886-0abc1f1a3ca6/favicon.ico	https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/25c86391-4a72-4c68-8886-0abc1f1a3ca6/favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/2d38964b-8d90-40d1-8462-5eb9835e64af/CAS_Wordmark_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/56a1e428-275f-448f-a532-da55d1cabe99/CAS_Logo_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/2d38964b-8d90-40d1-8462-5eb9835e64af/CAS_Wordmark_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/56a1e428-275f-448f-a532-da55d1cabe99/CAS_Logo_Pure-Black.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/e7ee2c2e-d442-499b-aeb8-d9a62aef7e1a/Gallery+visitors+at+CAS%2C+photo+by+Clint+Spaulding", "https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/79bb5fce-32f9-4c57-8555-a10a61a6038e/NYSCA+Logo.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/629019fa07cbf575f7aaf2bb/25c86391-4a72-4c68-8886-0abc1f1a3ca6/favicon.ico	Catskill Art Space	https://www.catskillartspace.org/about	PROGRAMS With exhibition space spanning two floors and four galleries, CAS aspires to be a regional arts destination, delivering programming that is diverse, dynamic, and life-enriching. CAS promotes the visual and performing arts of, by, and for our communities, including world-class artists, local artists, and arts education. CAS regularly offers opportunities to show work in our venues, and we welcome submissions from artists and arts groups through an annual call for exhibition proposals. Exhibitions are complemented by a wide range of public programs, including dance and music performances, artist talk backs, film screenings, lectures, and community gatherings. CAS also empowers emerging and established artists of all ages to deepen their practices through various educational opportunities. Our long-standing CAS Kids program provides a free out-of-school learning opportunity, offering families intensive arts education combining art making and historical context. In our mixed-media and ceramics studios, we invite the community to explore, play and learn about art-making. HISTORY CAS was founded by Charles F. Beck in 1971, out of his Cooks Falls home, as a space for artists to gather and share common interests. CAS incorporated as a nonprofit organization as Catskill Art Society in 1972 and moved to Hurleyville to share the newly dedicated Sullivan County Museum building with the Sullivan County Historical Society. In 2007, CAS renovated a historic building in Livingston Manor, built as the Manor Theater in 1929 and showing movies through the 1970s, to create exhibition space and classrooms on the ground floor. In 2020-22, CAS underwent a major renovation and expansion to activate its previously unoccupied second floor space, allowing the organization to expand the scale and scope of its programming. Coinciding with the renovation, the organization is reopening as Catskill Art Space.
6840	dbpedia	0	85	https://en.wikipedia.org/wiki/Frederic_Edwin_Church	en	Frederic Edwin Church	https://upload.wikimedia…oleon_Sarony.jpg	https://upload.wikimedia…oleon_Sarony.jpg	[ "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/b/b2/Photograph_of_Frederic_Edwin_Church_by_Napoleon_Sarony.jpg/220px-Photograph_of_Frederic_Edwin_Church_by_Napoleon_Sarony.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/New_England_Scenery%2C_Frederic_Edwin_Church%2C_1851_-_Museum_of_Fine_Arts%2C_Springfield%2C_MA_-_DSC03984.JPG/220px-New_England_Scenery%2C_Frederic_Edwin_Church%2C_1851_-_Museum_of_Fine_Arts%2C_Springfield%2C_MA_-_DSC03984.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/78/Church_Heart_of_the_Andes.jpg/220px-Church_Heart_of_the_Andes.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/60/Cotopaxi_church.jpg/220px-Cotopaxi_church.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/93/Brooklyn_Museum_-_Tropical_Scenery_-_Frederic_Edwin_Church_-_overall.jpg/220px-Brooklyn_Museum_-_Tropical_Scenery_-_Frederic_Edwin_Church_-_overall.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/c/cb/OurBannerInTheSky1861_FrederickEdwinChurch_83d40m_wp.png/220px-OurBannerInTheSky1861_FrederickEdwinChurch_83d40m_wp.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/Olana%2C_August_2015.jpg/220px-Olana%2C_August_2015.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/41/Frederic_Edwin_Church_by_Napoleon_Sarony.jpg/235px-Frederic_Edwin_Church_by_Napoleon_Sarony.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b9/The_Icebergs_%28Frederic_Edwin_Church%29%2C_1861_%28color%29.jpg/220px-The_Icebergs_%28Frederic_Edwin_Church%29%2C_1861_%28color%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/9d/Frederic_Edwin_Church%2C_The_Andes_of_Ecuador%2C_c._1855%2C_HAA.jpg/200px-Frederic_Edwin_Church%2C_The_Andes_of_Ecuador%2C_c._1855%2C_HAA.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Frederic_Edwin_Church_-_Cotopaxi_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Cotopaxi_-_Google_Art_Project.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/61/Cross_in_the_Wilderness_Frederic_Edwin_Church.jpg/200px-Cross_in_the_Wilderness_Frederic_Edwin_Church.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Frederic_Edwin_Church_-_Niagara_Falls_-_WGA04867.jpg/200px-Frederic_Edwin_Church_-_Niagara_Falls_-_WGA04867.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2d/Frederick_Edwin_Church_-_Morning_in_the_Tropics_-_Walters_37147.jpg/200px-Frederick_Edwin_Church_-_Morning_in_the_Tropics_-_Walters_37147.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/98/Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_%283%29.jpg/200px-Twilight_in_the_Wilderness_by_Frederic_Edwin_Church_%283%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Oosisoak_Frederic_Edwin_Church.jpg/147px-Oosisoak_Frederic_Edwin_Church.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/8f/Frederic_Edwin_Church_-_Rainy_Season_in_the_Tropics_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Rainy_Season_in_the_Tropics_-_Google_Art_Project.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fb/Frederic_Edwin_Church_-_Niagara_Falls%2C_from_the_American_Side_-_Google_Art_Project.jpg/176px-Frederic_Edwin_Church_-_Niagara_Falls%2C_from_the_American_Side_-_Google_Art_Project.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Church_Frederick_Edwin_Jerusalem_from_the_Mount_of_Olives.jpg/200px-Church_Frederick_Edwin_Jerusalem_from_the_Mount_of_Olives.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/54/Parthenon_%281871%29_Frederic_Edwin_Church.jpg/200px-Parthenon_%281871%29_Frederic_Edwin_Church.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/1872%2C_Church%2C_Frederic_Edwin%2C_Passing_Shower_in_the_Tropics.jpg/200px-1872%2C_Church%2C_Frederic_Edwin%2C_Passing_Shower_in_the_Tropics.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/eb/El_Khasne_Petra.jpg/159px-El_Khasne_Petra.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Aegean_Sea_Frederic_Edwin_Church.jpg/200px-Aegean_Sea_Frederic_Edwin_Church.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/da/Frederic_Edwin_Church_-_Aurora_Borealis_-_Google_Art_Project.jpg/200px-Frederic_Edwin_Church_-_Aurora_Borealis_-_Google_Art_Project.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.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/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" ]	2003-07-26T13:44:02+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Frederic_Edwin_Church	American landscape painter (1826–1900) For other people named Frederic Church, see Frederic Church (disambiguation). Frederic Edwin Church (May 4, 1826 – April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an emphasis on realistic detail, dramatic light, and panoramic views. He debuted some of his major works in single-painting exhibitions to a paying and often enthralled audience in New York City. In his prime, he was one of the most famous painters in the United States. Biography [edit] Beginnings [edit] Frederic Edwin Church was a direct descendant of Richard Church, a Puritan pioneer from England who accompanied Thomas Hooker on the original journey through the wilderness from Massachusetts to what would become Hartford, Connecticut.[1] Church was the son of Eliza (1796–1883) and Joseph Church (1793–1876). Frederic had two sisters and no surviving brothers. His father was successful in business as a silversmith and jeweler and was a director at several financial firms. His mother's brother was Adrian Janes, who owned an iron foundry that constructed the U.S. Capitol Dome. The family's wealth allowed Frederic to pursue his interest in art from a very early age. In 1844, aged 18, Church became the pupil of landscape artist Thomas Cole[2] in Catskill, New York after Daniel Wadsworth, a family neighbor and founder of the Wadsworth Athenaeum in Hartford, Connecticut, introduced the two. Church studied with him for two years; by this time his talent was evident. Cole wrote that Church had "the finest eye for drawing in the world".[3] During his time with Cole he travelled around New England and New York to make sketches, visiting East Hampton, Connecticut, Long Island, Catskill Mountain House, The Berkshires, New Haven, Connecticut, and Vermont.[4] His first recorded sale was in 1846 to the Wadsworth Athenaeum for $130; it was a pastoral painting depicting Hooker's journey in 1636. In 1848, he was elected the youngest Associate of the National Academy of Design. He was promoted to full member the following year and began to take in his own students including Walter Launt Palmer, William James Stillman and Jervis McEntee.[4] Style and influences [edit] Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the rationalism of the Age of Enlightenment. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes with emphasis on its grand scale. This tradition carried on in the works of Church, who idealizes an uninterrupted nature, highlighted by his excruciatingly detailed art. The emphasis on nature is encouraged by low horizontal lines and a preponderance of sky. Church usually "hid" his brushstrokes so that the painting surface was smooth and the painter's "personality" seemingly absent. Church was the product of the second generation of the Hudson River School, a movement in American landscape art founded by his teacher Thomas Cole.[6] Both Cole and Church were devout Protestants, and the latter's beliefs played a role in his paintings, especially his early canvases.[7] Hudson River School paintings were characterized by their focus on traditional pastoral settings, especially the Catskill Mountains, and their Romantic qualities. They attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the appreciation of natural beauty. His American frontier landscapes show the "expansionist and optimistic outlook of the United States in the mid-nineteenth century." Church differed from Cole in the topics of his paintings: he preferred natural and often majestic scenes over Cole's propensity towards allegory—though Church's work has increasingly been re-examined in terms of themes and meanings. The Prussian explorer and scientist Alexander von Humboldt was a major influence on Church. In his Kosmos, Humboldt put forth a vision of the interconnectedness of science, the natural world, and spiritual concerns. Kosmos, which Church owned, dedicated a chapter to landscape painting; Humboldt gave an important role to the visual artist in "scientifically" portraying the diversity of nature, especially in the New World. As Charles Darwin's theory of evolution began to overturn Humboldt's ideas of unity in the 1860s, art historians have examined how Church's painting responded to this disruption in Church's world view. The English art critic John Ruskin was another important and big influence on Church. In Ruskin's Modern Painters, he emphasizes the close observation of nature: "the imperative duty of the landscape painter [is] to descend to the lowest details with undiminished attention. Every class of rock, every kind of earth, every form of cloud, must be studied with equal industry, and rendered with equal precision." This attention to detail must be combined with the artist's interpretation, impressions, and imagination to achieve great art.[8] While Church's paintings were widely praised in the 1850s and 1860s, some critics found his detailed panoramas lacking in the imaginative or poetic. In his 1879 American Painters, George W. Sheldon wrote of Church's canvases, "It is scarcely necessary to ... explain what their principal defect is, because, by this time, that defect must have been recognized by almost every intelligent American lover of art. It consists in the elaboration of details at the expense of the unity and force of sentiment.... They are faithful and beautiful, but they are not so rich as they might be in the poetry, the aroma, of art. The higher and spiritual verities of Nature are the true home of landscape art."[8] Some of Church's paintings relate to, and influenced, the luminist landscape style as well. Luminist art tends to emphasize horizontals, use non-diffuse light, and hide brushstrokes such that the painter's presence, or "personality", is less apparent to the viewer. An exhibition book considers Church's Morning in the Tropics and Twilight in the Wilderness to highlight the style's "meticulous draftsmanship and intense colors", while Cotopaxi and The Parthenon "exemplify the style ... in their panoramic structure".[9] Nevertheless, Church is not considered a primarily luminist artist.[10] Career [edit] Church began his career by painting classic Hudson River School scenes of New York and New England, but by 1850, he had settled in New York. He exhibited his art at the American Art Union, the Boston Art Club, and (most impressively for a young artist) the National Academy of Design. His method consisted of creating paintings in his studio based on sketches in nature. In the earlier years of his career, Church's style was reminiscent of that of his teacher, Thomas Cole, and epitomized the Hudson River School's founding styles. As his style progressed he departed from Cole's approach: he painted in more elaborate detail and his compositions became more adventurous in format, sometimes with dramatic light effects. Church quickly earned a reputation as a traveler-artist, with early domestic painting and sketching trips to the White Mountains, western Massachusetts, the Catskills, Hartford, Conn, Niagara, Virginia, Kentucky, and Maine. He made two trips to South America in 1853 and 1857 and stayed predominantly in Quito, visiting the volcanoes and cities of modern day Colombia and Ecuador, and crossing the isthmus of Panama. The first trip was with businessman Cyrus West Field, who financed the voyage, hoping to use Church's paintings to lure investors to his South American ventures. Church was inspired by Alexander von Humboldt's exploration of the continent in the early 1800s; Humboldt had challenged artists to portray the "physiognomy" of the Andes. After Humboldt's Personal Narrative of Travels to the Equinoctial Regions of America was published in 1852, Church jumped at the chance to travel and study in Humboldt's footsteps.[11] When Church returned to South America in 1857 with painter Louis Rémy Mignot, he added to his sketches of the area. After both trips, Church had produced a number of landscapes of Ecuador and the Andes, such as The Andes of Ecuador (1855), Cayambe (1858), The Heart of the Andes (1859), and Cotopaxi (1862). The Heart of the Andes, Church's most famous painting, pictures several elements of topography combined into an idealistic, broad portrait of nature. The painting was very large, yet highly detailed; every species of plant and animal is identifiable and numerous climate zones appear at once. As he had with Niagara before, Church debuted The Heart of the Andes in a single-painting exhibition in New York City in 1859. Thousands of people paid to see the painting, with the painting's huge floor-based frame playing the part of a window looking out on the Andes. The audience sat on benches to view the piece, sometimes using opera glasses to get close, and Church strategically arranged the room to illuminate the painting with the light from overhead skylights. The work was an instant success. Church eventually sold it for $10,000, at that time the highest price ever paid for a work by a living American artist. Church's friendship with Isaac Israel Hayes, a prominent arctic explorer, stimulated the artist's interest in the arctic regions.[12] In 1859, Church and his good friend Rev. Louis Legrand Noble traveled to Newfoundland and Labrador. The journey was chronicled in Noble's book After Icebergs with a Painter (1861), published shortly before Church's painting "The Icebergs" went on display.[13][14] By 1860, Church was the most renowned American artist. In his prime, Church was a commercial as well as an artistic success. Church's art was very lucrative; he was reported to be worth half a million dollars at his death in 1900. In 1861, at the start of the Civil War, Church was inspired to paint Our Banner in the Sky by a sunset featuring red, white, and blue that he believed was a symbol that "the heavens indicated their support for the United States by reflecting the nation's colors in the setting sun".[15] A lithograph was made from it and sold to benefit the families of Union soldiers.[16] In 1863, he was elected an Associate Fellow of the American Academy of Arts and Sciences.[17] Family, later travels, and Olana [edit] In 1860, Church bought a farm near Hudson, New York and married Isabel Mortimer Carnes (born 1836, of Dayton, Ohio), whom he had met during the New York exhibition of The Heart of the Andes.[18] They soon started a family, but their two-year-old son Herbert and five-month-old daughter Emma both died of diphtheria in March 1865.[19] Still grief stricken, Church, his wife, and a young artist they befriended traveled to Jamaica. Church sketched while Isabel made a collection of pressed Jamaican ferns. He and his wife started a new family with the birth of Frederic Joseph in 1866, followed by Theodore Winthrop in 1869, Louis Palmer in 1870 and Isabel Charlotte ("Downie") in 1871.[19] In late 1867, Church began the longest period of travel of his career. That fall he and his family went to Europe, moving through London and Paris fairly quickly. From Marseille they went to Alexandria, Egypt, but Church did not visit the pyramids, perhaps being afraid to leave his family alone. Passing through Jaffa, they arrived at Beirut, where they spent four months. They stayed with American missionaries, including David Stuart Dodge. In February 1868 Church travelled with Dodge to the city of Petra by camel from Jerusalem. There he sketched the Al Khazneh tomb, which became the subject of one of his important later works, El Khasné, Petra (1874). Later that spring the family visited Damascus and Baalbek, then sailed the Aegean Sea with a stop in Constantinople. Back in southern Europe by summer, they wintered in Rome. There were many American artists in Rome that year, and they joined several artist/friends, including Sanford Robinson Gifford, Jervis McEntee and other friends who were also living in Rome. While in Rome, Church learned fresco painting, and made a collection of "Old Masters" paintings. However, apparently Europe on the whole did not seem to interest Church as it did most American artists of the 19th century, many of whom traveled there to experience the Western artistic heritage. Leaving his expanded family in Rome with friends, Frederic made a two-week visit to stay in Athens ended the journey in April 1869. At Athens the Parthenon impressed him, and he sketched and painted it energetically.[20] The Churches left Rome in May 1869, and made their way home via Paris and England, arriving home by the end of June. Before departing the United States for that trip, Church purchased the 18 acres (7.3 ha) on the hilltop above his Hudson farmland, which he had long wanted for its magnificent views of the Hudson River and the Catskills. In 1870, he began the construction of a Persian-inspired mansion on the hilltop, and the family moved into the home in the summer of 1872. Today this estate is conserved as the Olana State Historic Site. Richard Morris Hunt was consulted early on in the plans for the mansion at Olana, but after the Churches' trip, the English-born American architect Calvert Vaux was hired to complete the project.[2] Church was deeply involved in the process, even completing his own architectural sketches for its design. This highly personal and eclectic building incorporated many of the design ideas that he had acquired during his travels. In one letter of the period, he wrote "I have made about 1 3/4 miles of road this season, opening entirely new and beautiful views. I can make more and better landscapes in this way than by tampering with canvas and paint in the studio."[21] He devoted much of his energy during his last twenty years to Olana. Church had been enormously successful as an artist.[22] In his last decades, illness limited Church's ability to paint. By 1876, Church was stricken with rheumatoid arthritis, making painting difficult. He eventually painted with his left hand and continued to produce works, although at a much slower pace. He still taught painting as Cole had before him. Two students were Walter Launt Palmer, son of his close friend Erastus Dow Palmer, and Howard Russell Butler. In later life he often wintered in Mexico, where he taught Butler.[23] Spending time at Olana and in Mexico, Church was less exposed to trends in New York City. He kept a studio there into the 1880s, but it was usually sublet to Martin Johnson Heade.[24] His wife Isabel had been ill for years, and she died on May 12, 1899, at the home of their late friend and patron, William H. Osborn, on Park Avenue in New York. Less than a year later, on April 7, 1900, at the age of 73, Church also died at the home of Osborn's widow. Frederic and Isabel were buried in the family plot at Spring Grove Cemetery, Hartford, Connecticut.[25][26] Legacy [edit] In the last decades of his life Church's fame dwindled, and by his death in 1900 there was little interest in his work. His paintings were seen as part of an "old-fashioned and discredited" school that was too devoted to details.[27] His reputation improved with a 1945 exhibition devoted to the Hudson River School at the Art Institute of Chicago, and that year the Metropolitan Museum of Art Bulletin revisited the original reception of The Heart of the Andes.[28] In 1960 art historian David C. Huntington completed a dissertation on Church that explored his influences and milieu. By 1966 he had written a monograph on Church and organized the first exhibition devoted to Church since his death,[29] for the National Collection of Fine Arts. Huntington recognized Church's estate as his greatest artwork and spearheaded the effort to preserve Olana when the property, which had been preserved largely as Church created it by later generations of the family, was threatened with destruction. He spearheaded a two-year campaign to save Frederic Church's Olana, resulting in a public-private partnership that created Olana State Historic Site.[30][31] Church's legacy was rekindled; American museums began to acquire his works, and by 1979 Church's The Icebergs sold for $2.5 million, then the third-highest auction for any work of art.[32] The next year the National Gallery of Art held a major exhibition, American Light: The Luminist Movement, 1825–1875, which positioned Church as the leading American painter of his time.[27] Church's paintings, more confident and on a grander scale than those of his contemporaries, uniquely captured the spirit of an optimistic American people who associated the landscape of the New World with manifest destiny. Art historian Barbara Novak wrote that Church was "a paradigm of the artist who becomes the public voice of a culture, summarizing its beliefs, embodying its ideas, and confirming its assumptions."[33] Olana State Historic Site is now owned and operated by the New York State Office of Parks, Recreation and Historic Preservation, Taconic Region, and with its curatorial work, visitor services, and external relations managed by The Olana Partnership, a private, non-profit organization. In 1999, just before the centenary of Church's death, The Olana Partnership established the Frederic Church Award to honor individuals and organizations who make extraordinary contributions to American art and culture. Gallery [edit] Cotopaxi, 1855 Cross in the Wilderness, 1857 Morning in the Tropics, ca. 1858, The Walters Art Museum, Baltimore Oosisoak, 1861 Rainy Season in the Tropics, 1866, Fine Arts Museums of San Francisco Jerusalem from the Mount of Olives, 1870, The Nelson-Atkins Museum of Art The Parthenon, 1871, The Metropolitan Museum of Art Passing Shower in the Tropics, 1872, Princeton University Art Museum El Khasné, Petra, 1874, Olana State Historic Site Notes [edit] Sources [edit] Avery, Kevin J. (1993). Church's Great Picture: The Heart of the Andes. Metropolitan Museum of Art. ISBN 978-9994925193. Harvey, Eleanor Jones; Church, Frederic Edwin (2002). The Voyage of the Icebergs: Frederic Church's Arctic Masterpiece. Dallas Museum of Art. ISBN 9780300095364. Howat, John K.; Church, Frederic Edwin (2005). Frederic Church. Yale University Press. ISBN 978-0300109887. Huntington, David C. (1966). The Landscapes of Frederic Edwin Church: Vision of an American Era. George Braziller. LCCN 66-16675. Kelly, Franklin (1985). Frederic Edwin Church and the North American Landscape, 1845–1860 (Thesis). ProQuest 303390102. Kelly, Franklin (1988). Frederic Edwin Church and the National Landscape. Smithsonian Institution Press. ISBN 978-0-87474-592-4. Kelly, Franklin (1989). Frederic Edwin Church. National Gallery of Art. ISBN 978-0874744583. Wilmerding, John (1980). American Light: The Luminist Movement, 1850–1875. Washington: National Gallery of Art. ISBN 9780691002804. Media related to Frederic Edwin Church at Wikimedia Commons
6840	dbpedia	3	48	https://fineartconnoisseur.com/2022/12/on-the-art-of-thomas-cole-and-redefining-the-sublime/	en	On the Art of Thomas Cole and Redefining the "Sublime"	https://fineartconnoisse…Falls-scaled.jpg	https://fineartconnoisse…Falls-scaled.jpg	[ "https://www.facebook.com/tr?id=1474173896155184&ev=PageView&noscript=1", "https://fineartconnoisseur.com/wp-content/uploads/2018/02/FACRETINASMALL.png", "https://fineartconnoisseur.com/wp-content/uploads/2016/10/fac-logo-140.png", "https://fineartconnoisseur.com/wp-content/uploads/2018/02/FACRETINASMALL.png", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/1-Sarah-Cole-A-View-of-the-Catskill-Mountain-House.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/2-Asher-Durand-Forest-in-the-Morning-Light-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/3-North-and-South-Lakes-from-Sunset-Rock-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/4-Thomas-Cole-A-View-of-the-Two-Lakes-and-Mountain-House-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/5-Thomas-Cole-From-the-Top-of-Kaaterskill-Falls-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/6-Looking-down-from-the-top-of-Kaaterskill-Falls-today-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/7-Thomas-Cole-Lake-with-Dead-Trees-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/8-South-Lake-today-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/9-Thomas-Cole-The-Clove-painting-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/10-Inspiration-Point-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/11-Thomas-Cole-Kaaterskill-Falls.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2022/12/12-Kaaterskill-Falls-scaled.jpg", "https://fineartconnoisseur.com/wp-content/uploads/2018/01/FAC-profile-150x150.jpg", "https://secure.gravatar.com/avatar/6286c538a9f6c69deb3a26d2a62dc8ad?s=50&d=mm&r=g", "https://cdn.shopify.com/s/files/1/1075/7900/files/inc5000-circle_1000x.png", "https://fineartconnoisseur.com/wp-content/uploads/2020/12/UniversalAccessIcon.png" ]	[]	[]	[ "" ]	null	[ "Fine Art Today" ]	2022-12-16T13:37:30+00:00	How two scientists and art lovers came face to face with the Ice Age when they undertook a tour of the Thomas Cole and Hudson River School ...	en	https://fineartconnoisse…16/10/fac-16.png	Fine Art Connoisseur	https://fineartconnoisseur.com/2022/12/on-the-art-of-thomas-cole-and-redefining-the-sublime/	How two scientists and art lovers came face to face with the Ice Age when they undertook a tour of the Hudson River School Art Trail to follow in the footsteps of Thomas Cole. Redefining the “Sublime” in the Footsteps of Thomas Cole By Robert Titus and Johanna Titus We are scientists: Robert is a geologist and Johanna a biologist. Ours are the two leading sciences of the landscape. We are also residents of New York State’s Catskill Mountains, so it should not surprise anyone that we harbor a passion for the Hudson River School of painters. Fortunately, scientists like us are well-positioned to offer insights on some of the leading themes of that talented group. The Hudson River School was America’s first formally recognized art movement. It thrived in the mid-19th century, starting when the English émigré Thomas Cole (1801–1848) began painting landscapes around the Catskill Mountain House Hotel (Fig. 1) at the summit of the “Wall of Manitou,” a towering escarpment along the Catskills’ eastern edge. Cole first visited this region in 1825, early in his career, when it was still largely wilderness. The landscapes he painted that year contrasted dramatically with the park-like views that had long been featured in European landscape art. Little true wilderness still existed in Europe, but the Catskills offered it in abundance. The atmosphere and effect his canvases evoked soon came to be called “the Sublime.” Understanding the Sublime is central to understanding the Hudson River School, yet as a word, it has always been difficult to define precisely. To be Sublime, Nature is imagined not just as wilderness, but as wilderness with something vaguely dangerous, even ungodly, about it. Look at any forest scene (Fig. 2) painted by the Hudson River School’s Asher B. Durand (1796–1886). It is easy to imagine entering his dense, wild woodlands, but then you must ask yourself, “Can I be certain I will ever get out of them again?” The answer is no, you cannot, and that, we think, constitutes the scary part of the Sublime. The two of us have spent much time exploring the Catskills, in and around where Cole worked, and we think there is more to the Sublime than “wild and scary.” Please visit the area and see for yourself: many of Cole’s early landscapes can be seen in what is now the North Lake Campground, which is open to the public. Located in the village of Catskill is Cole’s studio house, Cedar Grove. It was designated a National Historic Site in 1999 in order to enhance understanding of the Hudson River School through architectural preservation, exhibitions, and scholarly study. Having been members of this nonprofit organization right from the start, we have watched with pleasure as it has earned a sterling reputation in all of these pursuits. Cedar Grove has always reached out to the general public. One example is its publication online of the Hudson River School Art Trail guide. This major endeavor points visitors to many of the exact spots where Cole and his colleagues made their sketches. When we first undertook this tour following in their footsteps, we discovered another, more scientific understanding of the Sublime; we came face to face with the Ice Age. This article presents our icy version of the Sublime. On the Hudson River School Art Trail We began at Site 7 on the Art Trail, a location called Sunset Rock (Fig. 3). It’s a rocky promontory that affords hikers a view we consider one of the finest east of the Rockies. Cole painted it several times. Spread out across the Brooklyn Museum’s version (Fig. 4) are the Catskills that first captivated Cole in 1825. In the distance is the Catskill Mountain House Hotel, which became 19th-century America’s finest resort and the birthplace of all Catskills culture, including the Hudson River School. Above it is South Mountain, and beyond, mostly out of sight, is Kaaterskill Clove — a scenic wonder and key site for the movement. (The word “clove” bewilders some people today; in this context it is not an herb, but rather a chasm that has been cleaved by Nature.) There is something else happening here. When we, as geologists, stand on Sunset Rock, it becomes 25,000 years ago. We look left into the Hudson River Valley and see it filling with a great glacier, moving south very slowly. The ice rubs up against the Wall of Manitou, which Cole portrayed just to the left of the hotel. The glacier’s grinding motions are carving this centerpiece of Catskills scenery, including the ledge on which the hotel would someday stand. As we watch, the ice swells up below us, crosses the ledge, and spreads to the right and toward the west. Its abrasive motions carve the basin of North Lake that Cole painted. From Sunset Rock, we have “witnessed” glaciers creating a famous Catskills landscape. Next, the Art Trail guide pointed us to Site 5, the top of Kaaterskill Falls. Cole came here in 1825 and produced one of the first Hudson River School paintings (Fig. 5). We explored a bit and found the very ledge where he must have sat as he sketched. A bit awed, we took turns sitting there and took our own photograph (Fig. 6). But there was more: we stepped forward a few feet and gazed beyond the lip of the falls. Again, we had entered the Ice Age. A glacier was advancing up the clove below us. The same ice we had just seen from Sunset Rock was now rising up Kaaterskill Clove, pushed from behind. It was sculpting the very landscape that Cole would later paint. We watched with fascination, beginning to understand that it was ice that created so much of this scenery. We then found our way to Site 6 and beheld the modern-day view of Cole’s “Lake with Dead Trees” (Fig. 7). Cole had also sketched this place in 1825, but, once again, “we were there” during the Ice Age. Advancing toward us, that same Kaaterskill Falls glacier was grinding its way into the local bedrock. This powerful force was scouring out the South Lake basin (Fig. 8) that Cole would paint. A visit to Site 4 would reveal more. There Cole made another of his early views, this one looking down Kaaterskill Clove (Fig. 9). Five miles long, a mile across, and a thousand feet deep, this chasm would lure future generations of landscapists, but Cole got there first. Kaaterskill Clove truly merits the adjective “awesome” — too grand to be compressed into one artistic view. Perhaps that’s why Cole chose to paint only its narrow upstream end. We took a hiking trail out along the clove’s north rim, unexpectedly journeying 15,000 years back in time. Standing on Inspiration Point (Fig. 10), below us we could see the clove filled with ice, a lower part of that same Kaaterskill Falls glacier. But now the climate had warmed; this ice was melting. We could hear the powerful subglacial flow of meltwater, muffled far beneath its icy surface. Down there, that torrent was cutting through the glacier and into the clove’s bedrock bottom. It was carving the deep, narrow canyon that has beckoned generations of painters. Site 5 relates to what is perhaps Cole’s most famous painting, which depicts Kaaterskill Falls from below (Fig. 11). This is another of the early scenes that launched his career. He eliminated all evidence of the modern tourist industry, painting it instead as his prehistoric Sublime. A single Native American stands atop the lower falls surveying the scene. We found our way to the bottom of the falls on a foggy day and looked into the past (Fig. 12). For us the Ice Age was just ending. Down the canyon, there was still a glacier, but above us enormous amounts of the remaining ice were quickly melting. Raging, foaming, pounding, thundering torrents were cascading over the top of Kaaterskill Falls. The sound was unbelievable and made worse by its echoing off the cliffs all around. It seems we had picked the most violent day in the history of the falls. Never before had so much water passed across it; never again would there be this much. We were watching the Sublime origins of Kaaterskill Falls. New Perspectives How much did Thomas Cole know of all this? Perhaps more than one might assume. Cole made the acquaintance of several accomplished geologists, the most notable being the Yale professor Benjamin Silliman. The theory of the Ice Age had just been born in the 1820s, so surely Cole was familiar with it. He could not have known the full extent to which glaciers had created his beloved landscapes, but he almost certainly knew they had been there. For us, it had been quite the adventure. We had explored Thomas Cole’s Catskills realm and discovered something fundamental about the Sublime. We had always known that our beautiful Catskills had inspired much great art in the 19th century, but now we had looked deeper back in time. The Hudson River School artists painted these landscapes, but first the glaciers had sculpted them. Ultimately, both the landscapes and the paintings are gifts of the Ice Age. *** ROBERT TITUS, PHD and JOHANNA TITUS are popular science writers, focusing on the geological history of the Catskills. They have authored The Catskills in the Ice Age (3rd edition, 2019, Purple Mountain Press and Black Dome Press). They can be contacted at [email protected]. Robert Titus took all of the modern photographs illustrated here, and the authors have sourced several of the historical images through Wikimedia Commons.
6840	dbpedia	1	51	https://www.nighthawknyc.com/2018/06/30/thomas-cole-ahead-of-his-time-and-ours/	en	Ahead of His Time. And Ours	http://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7239P2NH.jpg	http://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7239P2NH.jpg	[ "https://c.statcounter.com/10551050/0/bd8c2356/1/", "http://www.nighthawknyc.com/wp-content/uploads/2019/12/IMG_3344P2NH2.jpg", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif", "https://www.nighthawknyc.com/wp-content/uploads/2024/07/cropped-NH-Banner-60-9-YEARS-V3-GOLD-OOF-scaled-1.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7239P2NH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7673PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7248PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7247PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7254PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7263PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7889PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7766PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7284PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7788PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/IMG_3942-43PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7826PNH-1.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7822PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/05/DSC_7820P2NH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7823PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7824PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7825PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/Ed-Ruscha-Jet-Baby.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7829PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7869PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7881PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_4699P2NH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_7146PNH.jpg", "https://www.nighthawknyc.com/wp-content/uploads/2018/06/DSC_8640PNH.jpg", "https://www.paypalobjects.com/en_US/i/scr/pixel.gif" ]	[]	[]	[ "" ]	null	[ "Kenn Sava" ]	2018-06-30T00:00:00	Thomas Cole Atlantic Crossings at The Met reveals his influences, inspires a look at those he has influenced, and continues to influence, and comes with a warning.	en	https://www.nighthawknyc…d-OOF4-32x32.jpg	Nighthawknyc.com	https://www.nighthawknyc.com/2018/06/30/thomas-cole-ahead-of-his-time-and-ours/	Written & Photographed by Kenn Sava (unless otherwise credited) And then? There is beauty… With all the recent talk about the Art world loving “ugly” Art, including Painting , along came The Met’s Thomas Cole’s Journey: Atlantic Crossings. It’s an homage to “beautiful” Painting- to American Landscape Painting, to the birth of the Hudson River School that Mr. Cole is often credited with being a co-founder of (the first Art movement to form in America), and, it’s a testament to some very great Painters who expressed their passionate love of nature and it’s beauty on canvas and paper. Tucked away in galleries in the back of the first floor of the renovated American Wing, it was fitting that it was installed as close to the (man-made) natural glory of Central Park as is possible in American Wing. After closing at The Met on May 13th, it’s now been reinstalled, and added to, at London’s National Gallery, where it’s called Thomas Cole: Eden to Empire. The beauty it contains is (at least) three fold. First, there is the beauty of Thomas Cole’s Painting. We get to watch the Artist develop over time and travels, from his native England (where he was born in 1801), to America after his family emigrates here in 1818, to return trips to England and on to Italy, until he finds his voice, a voice that resonates as powerfully today as it ever has. Proof of that can be seen in expected and unexpected places, ranging from his direct disciples to contemporary masters, like Ed Ruscha and Rod Penner. Since influence is a continuum, we also get to see work by other Artists who influenced Thomas Cole, and who he learned from. This second kind of beauty, in the form of beautiful works by these influences and contemporaries, who’s presence caught me completely by surprise in the show. In fact, as soon as I entered, I was immediately bowled over by not one but two masterpieces by no less than the man many consider to be THE supreme landscapist, JMW Turner. And? There would be more! Talk about setting the bar high. Staggered, but not felled, by these bodyblows, my head cleared long enough to think about how Turner brilliantly uses two different styles sixteen years apart to convey similar messages. Whereas his later works strike us now as almost “impressionistic,” here he’s showing us real scenes. Already a lot to take in, I was ready to go home. Ah, but fear not. The “star” of our show would not be eclipsed. Thomas Cole hit the ground running. The third kind of beauty on view is the beauty of nature that all of the works on view- by Cole, Turner, John Trumbull, Claude Lorrain, John Constable, John Martin, and the others included depict. The works included focus on natural beauty, what man has done with and to that natural beauty, and the possible ramifications of that. The Hudson River School spent decades in eclipse in the 20th century as abstraction took center stage, but they’ve never failed to influence Artists, and their “popularity” has seemed to be on the upturn over the past 20 years. Upstairs in the American Wing, The Met’s Hudson River School permanent galleries are one of the lesser known glories of The Museum, judging by the fact that I’ve yet to see them crowded. While Art history has moved on, giving us countless styles, schools and movements since, no where else can the glories of original America be seen (pre-landscape Photography). Though the names of many of the places they Painted are familiar we longer can largely not recognize them. Beyond that, the Hudson River School includes some of the great Artists in 19th Century Painting. While they have enjoyed a “cult” following lo these many years, it’s high time they gain the wider acceptance and appreciation their work deserves. There’s no better place to start that than with a closer look at Thomas Cole. Thomas Cole, who was born in England and emigrated to the U.S. in 1818, was 28 when he met JMW Turner on a return visit to London after a decade here. He visited Turner’s Gallery . There, he saw, and was deeply impressed by, Turner’s Snow Storm: Hannibal and His Army Crossing the Alps. The Met’s wall card tells us Thomas Cole was not taken with Turner’s later work. At London’s newly opened National Gallery, he discovered Claude Lorrain and John Constable’s Hadleigh Castle, which haunted him for the rest of his life. He and Constable became friends. In 1831, he went to Italy, where he painted this- In Aqueduct near Rome, 1832, we see the ruins of a once great civilization, seen by Cole during his Italian trip and Painted from sketches he made of it. Among the ruins, we see a shepherd and his flock, a human skull, reminders of the passing of time and life going on. Looking at it in hindsight, it’s hard not to see it as something of a precursor for his masterwork, the 5 Painting series, The Course of Empire, 1934-36, the inclusion of which, on loan from the New York Historical Society, is one of the highlights of the show. Originally intended to hang over and around a fireplace by the gent who commissioned them, they seem much better hung as they are here, in a semi circular row where the endless detail in each can be better considered and appreciated. Interestingly, the largest of the five, designed to go in the center directly over the fireplace surrounded by the other four in vertical rows of 2 on each side, may well be the least “important.” At least, that’s a Met curator who spoke about the show in the galleries said. After Thomas Cole died in 1848, he was remembered by a number of Artists, including Frederic Church and Asher Durand, but his influence is ongoing. The London reinstallation of this show, at the National Gallery, is accompanied by a show of the work of the American Artist, Ed Ruscha, one of the most influential Artists of our time, who personally installed his own renowned Course of Empire series in a dialogue with one of his great influences. Mr. Ruscha traveled to NYC to speak about Thomas Cole at The Met on April 8th, and that fascinating conversation may be seen and heard here. In it, he speaks about visiting the New York Historical Society (“and not MoMA”) during his visits to the City because he wanted to see Cole’s The Course of Empire, who own the series, repeatedly. Many of Mr. Ruscha’s recent Paintings and prints have featured a mountain peak, often in snow, a constant reminder of the beauty and wonder of nature that was so close to Thomas Cole’s heart, and possibly a reference to the peak that recurs in each work of Cole’s The Course of Empire series. At The Met, Mr. Ruscha spoke about his love of nature in terms reminiscent of Thomas Cole. It speaks volumes that Mr. Ruscha would go to such lengths to bring Thomas Cole to a wider audience. But, he’s not alone. The string of Artists who’s work would seem to bear at least some debt to Thomas Cole is a very long one. Then there’s the line of Artist’s who’s work contrasts with Thomas Cole’s as they show us what man has done to the landscape in the years since, as he saw this beginning to happen in View from Mount Holyoke, 1836, below. Landscape Painting was joined by Landscape Photography, from about the 1850’s culminating in the work of Ansel Adams and Edward Weston in the first half of the 20th century. They were followed by Stephen Shore , Lewis Baltz, Robert Adams, Joe Deal and others who were given a landmark show in 1975-76 at the George Eastman House, Rochester, called New Topographics: Photographs of a Man-Altered Landscape. The show’s theme was that the American landscape was no longer what it once was in the days of Ansel Adams, Weston and Cole, that industrialization, commercialization and development had changed the landscape, and so, this new generation of Artists were bent on depicting the American Landscape they saw all around them. Painters, too, were hard at work doing the same thing- Painting the world they saw around them. Thomas Eakins painted the encroachment of the industrial world in The Champion Single Sculls (Max Schmitt in a Single Scull, 1871. In the 20th Century, the Regionalists, including Thomas Hart Benton and Grant Wood did their best to focus on the beauty of nature and the American Landscape, but even in their work, the modern world is encroaching. This was all presaged in Thomas Cole’s View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm- The Oxbow, 1836, in which the Artist shows us undeveloped land, left, developed land to the right, as he, himself, looks back at the viewer from a crevice right in the lower center, a man caught between the past, the present and the future. In this work he gives us at least the first two installments of The Course of Empire, and, with his turned look at the viewer seems to be directly asking us “Whither to from here?” “Nature has spread for us a rich and delightful banquet. Shall we turn from it? We are still in Eden; the wall that shuts us out of the garden is our own ignorance and folly.” (Quotes by Thomas Cole from the introductory video.) The “Ash Can” School painted the harsh reality of American urban life as it rapidly expanded. Meanwhile, Georgia O’Keefe and Charles Sheeler were two Artists who walked the line between the traditionalists and the modern world, with the former gradually disappearing in Sheeler’s work (as both a Photographer and a Painter) as time went on, while Ms. O’Keefe added abstraction to her images of the natural world, while also Painting the city. Edward Hopper lived in both worlds for most of his life, splitting time between Manhattan and Maine. Hopper has been followed by Richard Estes, who also splits his time between Manhattan and Maine, and like Hopper, paints works that show the beauty of nature, in one thread, and the extremes of human development in his Paintings and “Urban Landscape” print series. Along with Mr. Estes, other Painters, including John Salt and Rod Penner, like Thomas Cole, were born elsewhere, yet give us landscape Paintings of contemporary American scenes, as do many Photographers, including Catherine Opie, below, while others, including Emmet Gowin, Edward Burtynsky and David Maisel, have taken to the air to create works based on some of the most extreme uses man has made of the earth…so far. Whether they have been influenced by Thomas Cole, or their work stands in contrast to his, somewhere in all of it lies a message (intentional or not) that is not all that dissimilar to that of Thomas Cole in one of the stages of The Course of Empire. The overriding question becomes- Which stage are we in? - Soundtrack for this Post is “Message in a Bottle,” by Sting and the Police. NighthawkNYC.com has been entirely self-funded and ad-free for over 6 years, during which over 250 full length pieces have been published. If you’ve found it worthwhile, you can donate to keep it going & ad-free below. Thank you! Written & photographed by Kenn Sava for nighthawknyc.com unless otherwise credited. To send comments, thoughts, feedback or propositions click here. Click the white box on the upper right for the archives or to search them. For “short takes” and additional pictures, follow @nighthawk_nyc on Instagram.
6840	dbpedia	1	10	https://www.oceansbridge.com/shop/artists/d/dur-dyn/durand-asher-b/the-catskills	en	Asher B Durand Oil Paintings	https://cdn2.oceansbridg…oil-painting.jpg	https://cdn2.oceansbridg…oil-painting.jpg	[ "https://cdn2.oceansbridge.com/2018/12/18194434/logo-ob2.png", "https://cdn2.oceansbridge.com/2018/12/18194434/logo-ob2.png", "https://cdn2.oceansbridge.com/2018/03/25051839/guarantee.png", "https://cdn2.oceansbridge.com/2018/03/25050736/support.png", "https://cdn2.oceansbridge.com/2019/12/02054648/portrait-prices.png", "https://cdn2.oceansbridge.com/2017/08/07103920/oversized-1.png", "https://cdn2.oceansbridge.com/2018/05/28222147/request-a-painting.png", "https://cdn2.oceansbridge.com/2019/12/02054648/portrait-prices.png", "https://cdn2.oceansbridge.com/2017/08/07103920/oversized-1.png", "https://cdn2.oceansbridge.com/2018/05/28222147/request-a-painting.png", "https://cdn2.oceansbridge.com/2017/09/05064328/The-Catskills-Asher-B-Durand-oil-painting-800x1012.jpg", "https://cdn2.oceansbridge.com/2018/02/21054107/satisfaction_guaranteed-100by100.jpg", "https://cdn2.oceansbridge.com/2018/01/21064049/20121-350x467.jpg", "https://cdn2.oceansbridge.com/2017/08/05234835/Woodland-Path-1845-1850-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/07/28034337/Luman-Reed-1835-Asher-B-Durand-Oil-Painting.jpg", "https://cdn2.oceansbridge.com/2017/07/28034402/Mrs-Winfield-Scott-1831-Asher-B-Durand-Oil-Painting.jpg", "https://cdn2.oceansbridge.com/2017/08/05233256/Hudson-River-Sketch-1850-1857-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/08/05233704/Landscape-Beyond-the-Tree-1859-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/07/28034519/The-Beeches-1845-Asher-B-Durand-Oil-Painting.jpg", "https://cdn2.oceansbridge.com/2018/03/25051839/guarantee.png", "https://cdn2.oceansbridge.com/2018/03/25050736/support.png" ]	[]	[]	[ "" ]	null	[ "Rachel Toles", "Michelle" ]	2019-09-29T03:31:58+00:00	The The Catskills painting originally painted by Asher B Durand can be yours today. All reproductions are hand painted by talented artists. Free Shipping.	en	https://cdn2.oceansbridg…lette1-32x32.png	Ocean's Bridge Oil Paintings	https://www.oceansbridge.com/shop/artists/d/dur-dyn/durand-asher-b/the-catskills	FREE SHIPPING - WORLDWIDE! Yes that is correct the price you see is the price you pay. There are no hidden fees. Shipping, insurance and all other costs are included and you will not be asked to pay any further fees. (Please note there may be some extra fees if major revisions are required to your painting which DIFFER from your initial instructions and/or photos sent to us*** but these cases are the exception.) When packages are delivered damaged we'll need you to inform the courier (UPS) at your end, so they can process the complaint and take photos of the damage and send the photos to us. But, as far as your painting is concerned, if it was damaged beyond repair or lost in transit (both rare occurrences, thankfully), we will immediately dispatch a replacement (or paint a new one for you if it was not one we had in stock). Lifetime Warranty Ocean's Bridge provides a full warranty covering manufacturing and material defects for paintings and prints purchased from our website. The warranty covers damage for normal use. Damage caused by incidents such as accidents or inappropriate use are not covered. Depending on the degree of damage to the warranted painting, it will either be repaired or replaced. This warranty service is provided free of charge.
6840	dbpedia	1	47	https://www.postman.com/opamcurators/open-access-museums/documentation/pc14u6w/the-cleveland-museum-of-art-open-access-api	en	Postman	https://www.postman.com/…favicon-1-16.png	https://www.postman.com/…favicon-1-16.png	[]	[]	[]	[ "" ]	null	[]	null		en	/_ar-assets/images/favicon-1-16.png		null
6840	dbpedia	3	25	https://www.hrm.org/exhibitions/thomas-coles-refrain/	en	Thomas Cole’s Refrain	https://www.hrm.org/wp-c…-1-2048x1161.jpg	https://www.hrm.org/wp-c…-1-2048x1161.jpg	[ "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions//on-view-exhibitions-thomas-cole-1-2048x1161.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions//on-view-exhibitions-thomas-cole-1-700x397.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions/thomas-coles-refrain/on-view-exhibitions-thomas-cole-4-700x494.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions/thomas-coles-refrain/on-view-exhibitions-thomas-cole-3-700x506.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions/thomas-coles-refrain/on-view-exhibitions-thomas-cole-5-700x536.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/uploads/exhibitions/thomas-coles-refrain/on-view-exhibitions-thomas-cole-2-e1574367646182-700x514.jpg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-yt.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-ig.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-fb.svg", "https://hudsonriver.wpenginepowered.com/wp-content/themes/hrm-dev/assets/social-tw.svg" ]	[]	[]	[ "" ]	null	[]	null	“The paintings contain mysteries—enigmatic figures, evocative human structures, and symbolic landforms—that tell stories of their own.” – H. Daniel Peck, Exhibition Curator and John Guy Vassar, Jr., Professor Emeritus of English at Vassar College	en	https://hudsonriver.wpen…e-touch-icon.png	Hudson River Museum	https://www.hrm.org/exhibitions/thomas-coles-refrain/	Thomas Cole’s Refrain: The Paintings of Catskill Creek, will illuminate masterpieces from major museums and private collections, and explore the deeper meanings of Cole’s Catskill Creek paintings, considered as an integral series, for the first time. The exhibition is based on new scholarship developed by H. Daniel Peck, Exhibition Curator and the John Guy Vassar, Jr., Professor Emeritus of English at Vassar College, in his book of the same title, published by Three Hills, an imprint of Cornell University Press. Created during the eighteen-year period between 1827 and 1845, which spans Thomas Cole’s mature career, the artist’s paintings of Catskill Creek constitute the most sustained sequence of landscape paintings he ever made. The exhibition includes twelve original oil paintings by Thomas Cole, and represented, as well, are paintings of the Catskill Creek scene by leading nineteenth-century artists who were inspired by Cole: Asher B. Durand, Frederic Edwin Church, and Charles Herbert Moore. The works include Cole paintings from private collections that have rarely been seen in public: View Near Catskill, 1828–29, and Settler’s Home in the Catskills, 1842, as well as major works from the collections of the New-York Historical Society, Yale University Art Gallery, The National Gallery of Art, Albany Institute of History and Art, Olana State Historic Site, the Frances Lehman Loeb Art Center at Vassar College, and The Currier Museum of Art. The view of the Catskill Mountains that frames the Catskill Creek in Cole’s paintings can still be enjoyed from the Thomas Cole National Historic Site today, and a stretch of land along Catskill Creek has been preserved as a public park by Scenic Hudson and Greene Land Trust. Read more
6840	dbpedia	0	27	https://hawthornefineart.com/exhibitions/still-remembering-those-ladies	en	Still Remembering those Ladies	https://static.livebooks…umn%20Picnic.jpg		[ "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/d69cae84d42e4d49bf5702efca56b631/2/5feFb8zhrk/HawthorneLogo_duo%20color.png", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/c49a98251f1f48efa5897f2f98b71190/2/GCuCv726gZycFxatRCb7iU/Beers%2C%20Julia%20Hart_Autumn%20Picnic.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/b688b4836ac14288a7fb57d705e2c84b/2/4SoifmQp7LJ6yDtMkMcLt/A%2527Becket%2C%20Maria_Figure%20on%20a%20Forest%20Path.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/d352936812e8444eb8dd2fe24349752d/2/4SoifmQp7LJ6yDtMkMcLt/10-BarstowSusie_WhiteMountains.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/ed4be68059fc49ef84b74badbba4361c/2/4SoifmQp7LJ6yDtMkMcLt/Barstow%20-%20Autumn%20Mountain%20Lake%20-%20framed.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/ea1a2f265df24f13958583fdacfc32d1/2/4SoifmQp7LJ6yDtMkMcLt/BeersJulieHart_AutumnPicnicHudson.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/b2ae26db14c74bbcb62e9c1fd7cebe8e/2/4SoifmQp7LJ6yDtMkMcLt/Beers%2C%20Julie%20Hart_Summer%20Woodlands-framed.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/b8c7d625a9254aada4fdd4c59ca39c31/2/4SoifmQp7LJ6yDtMkMcLt/Charlotte%20Buell%20Coman.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/e585fcd580c04c328d0e1a960ed2b125/2/4SoifmQp7LJ6yDtMkMcLt/Darrah%2C%20Ann%20Sophie%20Towne_A%20View%20of%20the%20Androscoggin%20River%20Valley.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/e375a69f5c904269b12be38906e12a16/2/4SoifmQp7LJ6yDtMkMcLt/Furness%2C%20Rebekah%20T._At%20Pasture.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/ef1d1dd239ce48c9b5a0a62e1e957bc5/2/4SoifmQp7LJ6yDtMkMcLt/rsz_knowlton_helen_mary_in_the_forest-email.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/a728d47ff73f4a8cb4d0a5767fa11e03/2/4SoifmQp7LJ6yDtMkMcLt/Kollock%2C%20Mary_Sunset%20on%20the%20Hudson%20River%2C%201870.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/b76c7928db154b9fa74d862bf90f146e/2/4SoifmQp7LJ6yDtMkMcLt/NewhallKate_Sierras.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/a0af302d82b84d2eb35a6d0a7d284b01/2/4SoifmQp7LJ6yDtMkMcLt/Shaw%2C%20Annie%20C._Autumn%2C%201878.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/dd85ea1b8e944cdc8733fe6428d074ad/2/4SoifmQp7LJ6yDtMkMcLt/Shaw%2C%20Annie_Summer%2C%201878.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/b31574fa70df47e79462b18edb45fd82/2/4SoifmQp7LJ6yDtMkMcLt/7-StebbinsIda_SouthPond.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/c2c481f2055e4f77acdc67883fa29964/2/4SoifmQp7LJ6yDtMkMcLt/19-StevensMaryLord_WildflowersMeadow.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/a6aed9f8de134e118784264da6b0b47a/2/4SoifmQp7LJ6yDtMkMcLt/StevensMaryLord_PathForest.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/de150279dcfc4dbd9605d34d2b0d4115/2/4SoifmQp7LJ6yDtMkMcLt/Stevens%2C%20Mary%20Lord_Dusk%20at%20Sea_framed.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/f2f871a2b7fb4d61ad34258e9bab3ae7/2/4SoifmQp7LJ6yDtMkMcLt/Titcomb%2C%20Virginia_Hunter%20Mountain.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/cf6a6d5b5dd94dada09152f735cf9ef2/2/4SoifmQp7LJ6yDtMkMcLt/Voorhees%2C%20Mattie_Coastal%20Scene%20with%20Distant%20Lighthouse.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/d8b22f682ced425dad8960f80fdf9864/2/4SoifmQp7LJ6yDtMkMcLt/WaltersMaryJosephine_WalkingOldMill.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/ca8fd94e561245c797cc50da396303d4/2/4SoifmQp7LJ6yDtMkMcLt/WaltersMaryJosephine_AutumnRiverPunt.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/bca42f3da7894e19a4de5ab95038105d/2/4SoifmQp7LJ6yDtMkMcLt/Laura%20Woodward%20Camel%2527s%20Hump%2C%20Vermont%2C%201877%20.jpg", "https://static.livebooks.com/a8b805842d124ed6bae8629e30926996/i/e6cd5096435d4fe0954dfa79551ea6b0/2/4SoifmQp7LJ6yDtMkMcLt/Woodward%2C%20Laura_%20Rowers%20in%20a%20Fall%20Landscape.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			https://hawthornefineart.com/exhibitions/still-remembering-those-ladies	(New York, NY) Hawthorne Fine Art is pleased to present Still Remembering those Ladies. The exhibition follows the groundbreaking show Remember the Ladies: Women of the Hudson River School held at the Thomas Cole National Historic Site in 2010. Co-curated by Nancy Siegel, Ph.D. and Hawthorne Fine Art’s Jennifer Krieger, the former exhibition led to the discovery of new works and new talents with the hope of adding them all to the American art canon. In the years since, Hawthorne Fine Art has continued to shine a light on American women artists through regular exhibitions and scholarly research. The present exhibition features over 25 landscape paintings by a group of exceptional 19th century lady artists incredibly worthy of remembrance. As we celebrate Women’s History Month we hope you join us in Still Remembering those Ladies! Among the work to be shown is Autumn Picnic in the Hudson Valley by Julie Hart Beers (1835-1913). The sister of Hudson River School painters William and James McDougal Hart, Beers’s work glows with the colors of autumn. Figures enjoying an afternoon picnic can be seen reclining beneath the shade of a tree or warming themselves in the sun upon a sloping hillside. A church steeple and the rooftops of a nearby village can be seen in the distance beyond a vast green field. The Hudson River Valley is highlighted in other luminous works including Sunset on the Hudson River, 1870 by Mary Kollock (1840-1911) and In the Catskills, Looking Towards Hunter Mountain by Virginia Chandler Titcomb (1838-1912). A large scale-work, Mountain Lake in Autumn, 1873 by New York native Susie M. Barstow (1836-1923) depicts the morning mist as it rises above a mountain lake whose tranquil water mirrors snowcapped mountains. In the foreground, Barstow captured in exquisite detail the overgrowth of autumnal flora amidst the rocks on the shoreline. In the middle ground, a tiny plume of smoke hovers above a campfire while birds in flight skim the surface of the lake near the opposite shore. A View of the Androscoggin River Valley, White Mountains, New Hampshire by Ann Sophia Towne Darrah (1819-1881) is another large-scale work. The artist, who went by Sophia, signs her work “S.T. Darrah” in order to conceal her gender and avoid discrimination. Darrah’s broadly painted landscape captures the late afternoon light. Minutely painted cattle graze in a field at the lower left adding a sense of scale to the mountain scene. More intimately scaled works include the seasonal pairing Summer, 1878 and Autumn, 1878 by Annie Cornelia Shaw (1852-1887). Painted en plein air, Shaw captures the landscape using rich earthy hues. By the Riverbank, 1888 by Mary N. Black (19th Century) depicts a lone fisherman in a rowboat beside a wooden foot bridge. The charming river scene is painted in oil on a porcelain plate, one of the few art forms considered acceptable for women during the 19th century. Laura Woodward’s (1834-1926) Camel’s Hump, Vermont, 1877 captures the topography of Vermont’s Green Mountains beyond farmland bordered by lush green trees. Walking by the Old Mill by Mary Josephine Walters (1837-1883) is of the few early extant pre-Raphaelite watercolors by a female artist. Walters was a favorite female student of Asher B. Durand (1796-1886). Also included are works by artists Maria J. C. a'Becket (1839-1904), Helen Mary Knowlton (1832-1918), Rebekah T. Furness (1854-1937), Charlotte Buell Coman (1833-1924), Alice Archer Sewall James (1870-1955), Kate W. Newhall (1840-1917), Mattie C. Voorhees (19th Century) and Mary Lord Stevens (1833-1920).
6840	dbpedia	1	84	https://hawthornefineart.wordpress.com/2016/12/16/upcoming-exhibition-soaring-sights-luminist-landscapes-by-female-hudson-river-school-painters-1825-1875-on-view-feb-6-april-20-2017-at-hawthorne-fine-art/	en	“Soaring Sights: Luminist Landscapes by Female Hudson River School Painters (1825-1875)” on View at Hawthorne Fine Art	https://hawthornefineart…n-river-1854.jpg	https://hawthornefineart…n-river-1854.jpg	[ "https://hawthornefineart.wordpress.com/wp-content/uploads/2015/11/hawthornelogo2.jpg?w=277", "https://hawthornefineart.wordpress.com/wp-content/uploads/2016/12/bacon-julia_hrv-landscape_framed.jpg?w=663", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/bacon-julia_hrv-landscape_framed.jpg?w=229&h=143&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/walters-josephine_study-of-ferns_framed.jpg?w=229&h=172&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/oakes-mrs-a-t-_view-of-the-hudson-river-18541.jpg?w=426&h=319&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/walters_punt.jpg?w=268&h=147&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/barstow_white-mountains.jpg?w=268&h=199&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/bissett-isabella_hudson-river-valley_framed.jpg?w=268&h=139&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/knowlton-susan_figures-in-the-forest.jpg?w=387&h=493&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/beers-julie-hart_after-the-storm.jpg?w=212&h=102&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/brown-agnes_landscape-with-white-birch.jpg?w=77&h=102&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/titcomb-virginia-chandler_in-the-catskills.jpg?w=161&h=102&ssl=1", "https://i0.wp.com/hawthornefineart.wordpress.com/wp-content/uploads/2016/12/bissett-isabella_catskill-landscape_framed.jpg?w=197&h=102&ssl=1", "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	[ "Hawthorne Fine Art" ]	2016-12-16T00:00:00	Hawthorne Fine Art is pleased to announce the opening of its upcoming exhibition, Soaring Sights: Luminist Landscapes by Female Hudson River School Painters (1825-1875). Featuring a selection of women artists who were active throughout the nineteenth century, the exhibition focuses on these women's contributions to the history of the Hudson River School, Luminism, and American…	en	https://s1.wp.com/i/favicon.ico	Hawthorne Fine Art	https://hawthornefineart.wordpress.com/2016/12/16/upcoming-exhibition-soaring-sights-luminist-landscapes-by-female-hudson-river-school-painters-1825-1875-on-view-feb-6-april-20-2017-at-hawthorne-fine-art/	Hawthorne Fine Art is pleased to announce the opening of its upcoming exhibition, Soaring Sights: Luminist Landscapes by Female Hudson River School Painters (1825-1875). Featuring a selection of women artists who were active throughout the nineteenth century, the exhibition focuses on these women’s contributions to the history of the Hudson River School, Luminism, and American landscape painting. Spanning half a century, the paintings on view represent a cross-section of landscapes from painters with a unique points of view and various levels of formal training. While visitors will be familiar with the work of slightly more well-known artists—such as Sarah Cole, the younger sister of Thomas Cole, or Julie Hart Beers, whose brothers James and William Hart were renowned painters of the same style—the exhibition will also focus on equally talented painters whose work is more often obscured. Soaring Sights will include contributions from artists Isabella Bissett, Abby T. Oakes, Helen Mary Knowlton, Mary Josephine Walters, Julia Bacon, Agnes Brown, Ella Ferris Pell, Virginia Chandler Titcomb, Laura Woodward, and Susie M. Barstow. When viewed together, these landscape scenes will underscore the breadth, depth, and dexterity with which women met the challenge of painting the New England landscape with attention to its light and atmosphere, in unique compliment to their male peers.
6840	dbpedia	3	72	https://www.museothyssen.org/en/collection/artists/hart-james-mcdougal/summer-catskills	en	Summer in the Catskills	https://www.museothyssen…s.jpg?h=5a8f6220	https://www.museothyssen…s.jpg?h=5a8f6220	[ "https://www.museothyssen.org/themes/thyssen/img/thyssen-bornemisza-museo-nacional-en.svg?v=26112020", "https://tienda.museothyssen.org/media/catalog/product/p/p/pp00208_9788417173098_catalogo_cesar_paternosto_to.jpg", "https://tienda.museothyssen.org/media/catalog/product/p/t/pt00102_p_ster_richard_estes_people_s_flower_to.jpg", "https://tienda.museothyssen.org/media/catalog/product/p/p/pp00195_9788415113966_cat_palacio_a_museo_historia_edif_to.jpg", "https://tienda.museothyssen.org/media/catalog/product/f/e/fe19926_cat_claudia_comte_to_1.jpg", "https://www.museothyssen.org/sites/default/files/styles/square_big/public/imagen/2023-10/HEADE%2C%20Martin%20J._Pantanos%20en%20Rhode%20Island%2C%201866_%28CTB.1987.24%29_0.jpg?h=690a9619 960w, https://www.museothyssen.org/sites/default/files/styles/square_large/public/imagen/2023-10/HEADE%2C%20Martin%20J._Pantanos%20en%20Rhode%20Island%2C%201866_%28CTB.1987.24%29_0.jpg?h=690a9619 600w, https://www.museothyssen.org/sites/default/files/styles/square_medium/public/imagen/2023-10/HEADE%2C%20Martin%20J._Pantanos%20en%20Rhode%20Island%2C%201866_%28CTB.1987.24%29_0.jpg?h=690a9619 200w", "https://www.museothyssen.org/sites/default/files/styles/square_big/public/imagen/2023-10/HEADE%2C%20Martin%20Johnson_Singing%20Beach%2C%20Manchester_577%20%281985.9%29%23F23%20copia.jpg 960w, https://www.museothyssen.org/sites/default/files/styles/square_large/public/imagen/2023-10/HEADE%2C%20Martin%20Johnson_Singing%20Beach%2C%20Manchester_577%20%281985.9%29%23F23%20copia.jpg 600w, https://www.museothyssen.org/sites/default/files/styles/square_medium/public/imagen/2023-10/HEADE%2C%20Martin%20Johnson_Singing%20Beach%2C%20Manchester_577%20%281985.9%29%23F23%20copia.jpg 200w", "https://www.museothyssen.org/sites/default/files/styles/square_big/public/imagen/2023-10/HEADE%2C%20Martin%20J._Amanecer%20en%20Nicaragua%2C%201869_%28CTB.1997.6%29.jpg?h=4b33db3c 960w, https://www.museothyssen.org/sites/default/files/styles/square_large/public/imagen/2023-10/HEADE%2C%20Martin%20J._Amanecer%20en%20Nicaragua%2C%201869_%28CTB.1997.6%29.jpg?h=4b33db3c 600w, https://www.museothyssen.org/sites/default/files/styles/square_medium/public/imagen/2023-10/HEADE%2C%20Martin%20J._Amanecer%20en%20Nicaragua%2C%201869_%28CTB.1997.6%29.jpg?h=4b33db3c 200w", "https://www.museothyssen.org/sites/default/files/styles/square_big/public/imagen/2023-10/KENSETT%2C%20John%20Frederick_El%20lago%20George%20_612%20%281980.78%29%23F23.jpg 960w, https://www.museothyssen.org/sites/default/files/styles/square_large/public/imagen/2023-10/KENSETT%2C%20John%20Frederick_El%20lago%20George%20_612%20%281980.78%29%23F23.jpg 600w, https://www.museothyssen.org/sites/default/files/styles/square_medium/public/imagen/2023-10/KENSETT%2C%20John%20Frederick_El%20lago%20George%20_612%20%281980.78%29%23F23.jpg 200w", "https://www.museothyssen.org/sites/default/files/styles/full_resolution/public/imagen/obras/CTB.1996.18_verano-catskills.jpg", "https://www.museothyssen.org/sites/default/files/styles/full_resolution/public/imagen/obras/CTB.1996.18_verano-catskills.jpg", "https://www.museothyssen.org/themes/thyssen/img/thyssen-bornemisza-museo-nacional-inverse-en.svg?v=03102022", "https://www.museothyssen.org/themes/thyssen/img/patrocinadores/fundacion-mutua-madrilena.svg?v=24022023", "https://www.museothyssen.org/themes/thyssen/img/patrocinadores/master-card.svg?v=15092023", "https://www.museothyssen.org/themes/thyssen/img/patrocinadores/comunidad-madrid.svg?v=15042024", "https://www.museothyssen.org/themes/thyssen/img/patrocinadores/uniqlo.svg?v=22022024", "https://www.museothyssen.org/themes/thyssen/img/ministerio-cultura-deporte.svg?v=20231218", "https://www.museothyssen.org/themes/thyssen/img/espana-es-cultura.png?v=20230202", "https://www.museothyssen.org/themes/thyssen/img/paisaje-luz.png?v=20230202", "https://www.museothyssen.org/themes/thyssen/img/ens.png?v=10072024" ]	[]	[]	[ "" ]	null	[]	null	James Hart was distinguished among the Hudson River School painters for faithfully and quietly rendering transcriptions of nature and avoiding the more t...	en	/themes/thyssen/favicon.ico	Museo Nacional Thyssen-Bornemisza	https://www.museothyssen.org/en/collection/artists/hart-james-mcdougal/summer-catskills	ca. 1865 Oil on canvas. 33.6 x 59 cm Carmen Thyssen Collection Inv. no. ( CTB.1996.18 ) Room 31 Level 1 Permanent Collection 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Temporary exhibition rooms Rodin Room James Hart was distinguished among the Hudson River School painters for faithfully and quietly rendering transcriptions of nature and avoiding the more theatrically sublime, panoramic landscapes of many of his colleagues. "I strive to reproduce in my landscapes the feeling produced by the original scenes themselves", the artist declared, "If the painting were perfect, you would feel precisely as you feel when contemplating such a scene in Nature." As one contemporary critic noted concerning Hart's paintings, "weed, vine, rock [...] and the wondrous débris of the primeval forest, are all given with the marked faithfulness to form and color so characteristic of this artist: and yet with such mastery of handling that the minutest weed holds but its relative bearing to the great mass." A large outcropping of venerable rocks, their surface covered with lichens, occupies the left foreground of Summer in the Catskills. A flowering meadow separates the hoary boulders from the distant landscape of cultivated hills. One is reminded of the English critic, John Ruskin, who wrote that "a stone, when it is examined, will be found a mountain in miniature." "The work of the Great Spirit of nature", Ruskin felt, "is as deep and unapproachable in the lowest as in the noblest objects", and is as visible in the "mouldering stone, as in the lifting of the pillars of heaven, and settling the foundation of the earth." The moss and lichen covered rocks in Hart's painting were more than a replication of the distant mountains. They represented the passage of time; they were America's history. The artist was finding within the microcosm of the rock, the fulfilment of the grandiose plan of a creator. As Asher B. Durand admonished the artist in his Letters to a Landscape Painter, it is by reverent attention to the forms of Nature alone that Art is able to reproduce "the profound and elevated emotions which the contemplation of the visible works of God awaken." But the unity of God, Nature and man, as portrayed in Hart's Summer in the Catskills, would soon be disturbed. A writer for the important 19th-century art periodical, The Crayon, noted in an 1859 article, "Relation between Geology and Landscape Painting", written at the very time Charles Darwin's Origin of the Species was published, that: "Each stone bears upon its surface characters so plainly legible that he 'who runs may read.' The particolored lichens add grace and symmetry to the massive boulders, which have journeyed from the Polar seas, as they reposed upon the breast of some crystal iceberg. These the artist sees and enjoys, and when the last touch is given to his sketch and the pencil is laid aside, his thoughts revert to those old times, when fauna and flora existed supreme, since breath had not yet given life to man." The artist is a geologist, the writer concludes, who meeting with different strata, asks "why this diversity?" To the artist, therefore, "properly belongs the study of geology, as he more thoroughly than any other can imitate what nature has produced." But an artist's painting, the writer also reminds us, is not simply an imitation of nature, it "is a representation of moral principles and sentiment." Hart's modest canvas with its meticulously-rendered, errant boulder brings to the fore the great geological debates regarding Creation and evolution in the 19th century as Americans pondered and struggled with the relationship between nature and God, God and science. Kenneth W. Maddox Siglo XIXs.XIX - Pintura norteamericana. LuminismoPaintingOilcanvas Products and publications César Paternosto. Towards painting as object. Exhibition Catalogue 12.00 € 9.50 € Poster Richard Estes: People's Flower 12.50 € De Palacio Villahermosa a Museo Thyssen-Bornemisza. Historia de un edificio 28.00 € 15.50 € After Nature Catalog by Claudia Comte (English) 6.00 € More from the collection
6840	dbpedia	3	7	https://americanart.si.edu/artist/thomas-cole-943	en	Thomas Cole	https://cdn.saam.media/L…image_113769.jpg	https://cdn.saam.media/L…image_113769.jpg	[ "https://americanart.si.edu/themes/custom/azalea/dist/media/images/logo.png", "https://cdn.saam.media/_V-w4ViVCCG7zD3mzm85xZbYlB0/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Fluce_foundation_center.jpg", "https://cdn.saam.media/WNGyjsX7MT_uXogV5vfxOOhPTms/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Frenwick_stairwellodiledecqrug2.jpg", "https://cdn.saam.media/6rF-mArxD6atNhygtEhcoDfD-58/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F14c6b5ea87a9e54cbb789ff9867557d7.jpg", "https://cdn.saam.media/HqGYtr7cs7igAOgWa0ItTAphrzE/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2Fd072a4f042a26de62b4848e12f39becd.jpg", "https://cdn.saam.media/WotqOXZm9kLrkOwlNhu3mncOCLI/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2022-06%2Fhighlights_-_photography_untitled_broach_with_goatee.jpg", "https://cdn.saam.media/VNgg4-8PrHcWAy6W8WqWqeehpwI/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2FSAAM-2020.25.1_1.jpg", "https://cdn.saam.media/FYnJ6XGUSpOnRWa5YndNyDUA7H4/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F93d15294cfd738f54b853dc9516bdbf6.jpg", "https://cdn.saam.media/glUBZha_vwxiu4aKxWdx5QbWxMQ/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F77c3efc7523630f72aee5830c94fdd1b.jpg", "https://cdn.saam.media/Ca_H8DMj_UC3NjDXkjCgg8rshXs/640/640/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Ffiles%2Fimages%2F1967%2FSAAM-1967.110_1.jpg", "https://cdn.saam.media/6yWoajeJYaf08oT3To_R7XR-hpQ/640/640/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Ffiles%2Fimages%2F1967%2FSAAM-1967.59.664_2.jpg", "https://cdn.saam.media/TjoKygiRWR4WTNaqDB_8B6yDQhI/640/640/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2Fimage%2F1718742884%2F2024_3_1_SAAM_WilliamJohnson_FighterForFreedom-117_home%2520page%2520crop.jpg", "https://cdn.saam.media/uJlEByfKHHbFgBKqsIoRgUoy0yM/640/360/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Fimages%2F2017-08%2Fdonate_hero_planned_giving.jpg", "https://cdn.saam.media/s88HvgSPSEA_IlPQUHkAYDHCsjg/640/360/top/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Fimages%2Fimage%2F1684034713%2Fsaam-creatives-thumbnail.jpg", "https://cdn.saam.media/L-pcPEdf_pfiPIstNHdj07e1mW4/960/0/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2Fluce%2Fartists%2Fportrait_image_113769.jpg", "https://cdn.saam.media/5eXQ-W4eu7MhYTVmOO84yAQdm-o/960/0/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fvisit%2Fstores%2Fonline%2Fimages%2Fyoung_500.jpg", "https://cdn.saam.media/f3RBrttN9EtJa8aTB49BljEChHs/960/0/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fvisit%2Fstores%2Fonline%2Fimages%2Fgreathall_500.jpg", "https://americanart.si.edu/themes/custom/azalea/dist/media/images/SI-Sunburst-Logo.png", "https://cdn.saam.media/_V-w4ViVCCG7zD3mzm85xZbYlB0/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Fluce_foundation_center.jpg", "https://cdn.saam.media/WNGyjsX7MT_uXogV5vfxOOhPTms/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2017-08%2Frenwick_stairwellodiledecqrug2.jpg", "https://cdn.saam.media/6rF-mArxD6atNhygtEhcoDfD-58/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F14c6b5ea87a9e54cbb789ff9867557d7.jpg", "https://cdn.saam.media/HqGYtr7cs7igAOgWa0ItTAphrzE/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2Fd072a4f042a26de62b4848e12f39becd.jpg", "https://cdn.saam.media/WotqOXZm9kLrkOwlNhu3mncOCLI/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2F2022-06%2Fhighlights_-_photography_untitled_broach_with_goatee.jpg", "https://cdn.saam.media/VNgg4-8PrHcWAy6W8WqWqeehpwI/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2FSAAM-2020.25.1_1.jpg", "https://cdn.saam.media/FYnJ6XGUSpOnRWa5YndNyDUA7H4/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F93d15294cfd738f54b853dc9516bdbf6.jpg", "https://cdn.saam.media/glUBZha_vwxiu4aKxWdx5QbWxMQ/640/360/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fartwork%2Fimages%2F77c3efc7523630f72aee5830c94fdd1b.jpg", "https://cdn.saam.media/Ca_H8DMj_UC3NjDXkjCgg8rshXs/640/640/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Ffiles%2Fimages%2F1967%2FSAAM-1967.110_1.jpg", "https://cdn.saam.media/6yWoajeJYaf08oT3To_R7XR-hpQ/640/640/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Ffiles%2Fimages%2F1967%2FSAAM-1967.59.664_2.jpg", "https://cdn.saam.media/TjoKygiRWR4WTNaqDB_8B6yDQhI/640/640/center/cover/jpg/https%3A%2F%2Fd3ec1vt3scx7rr.cloudfront.net%2Ffiles%2Fimages%2Fimage%2F1718742884%2F2024_3_1_SAAM_WilliamJohnson_FighterForFreedom-117_home%2520page%2520crop.jpg", "https://cdn.saam.media/uJlEByfKHHbFgBKqsIoRgUoy0yM/640/360/center/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Fimages%2F2017-08%2Fdonate_hero_planned_giving.jpg", "https://cdn.saam.media/s88HvgSPSEA_IlPQUHkAYDHCsjg/640/360/top/cover/jpg/https%3A%2F%2Fs3.amazonaws.com%2Fassets.saam.media%2Ffiles%2Fimages%2Fimage%2F1684034713%2Fsaam-creatives-thumbnail.jpg" ]	[]	[]	[ "" ]	null	[]	null	As a young artist [Thomas] Cole roamed the Hudson River valley and the region around the Catskill and Adirondack mountains, making sketches of the shrubs, trees, rocks, and waterfalls that he later incorporated into his own imaginative compositions to	en	/themes/custom/azalea/dist/favicon.ico	Smithsonian American Art Museum	https://americanart.si.edu/artist/thomas-cole-943	Artist Biography Thomas Cole was the first of the Hudson River School of painters, often characterized as being the first native American school of painting. Though devoted to the study of nature, and usually thought of as a landscape artist, moralistic and religious themes were central to Cole's paintings. Cole was born in Lancashire, England, and at the age of seventeen, he arrived with his family in Philadelphia. He worked as a commercial engraver at first, but by about 1823–1824 he had determined to become an artist. In 1825 he sold three landscape paintings and that summer he took his first sketching trip up the Hudson River. In 1826 he was elected to the National Academy of Design. In 1829 he went to England and exhibited there, then to France, and in 1831–1832 he lived and toured in Italy. In Rome he occupied the studio of Claude Lorrain, the famous seventeenth-century French artist, whom Cole considered "the greatest of all landscape painters." In 1836 he returned to America and married Maria Bartow of Catskill, where he then set up his studio and residence. In 1841–1842 he made a second trip abroad to London, Paris, Rome, and Sicily. In 1842 he joined the Anglican Church. His first pupil, in 1844, was the landscape artist, Frederic E. Church. Like [Washington] Allston and [Albert Pinkham] Ryder, Cole wrote poetry. He also kept a journal and wrote lengthy letters to his wife, friends, and patrons. Thus an intimate record of the viewpoint and activities of this gentle, pious, articulate, and reflective man is available through Louis Noble's books. A journal entry for May 31,1835, reads, in part: "I did not go to church today. … I read a little, wrote, and walked, and looked at the landscape. … The south wind blew strongly, and dark masses of cloud moved across the twilight sky, the heralds of approaching storm. A leaden hue overspread the vale, the woods, and the distant mountains. How contagious is gloom! A flow of melancholy thoughts and feelings overwhelmed me for a time. I thought of the uncertainty of life; its bootless toil and brevity. The south wind, I thought, would still continue to blow, and bring up its dark clouds for ages after my works, and all the reputation I might gain had faded away, and become as though they had never been— swept by the wing of time into oblivion's gulf. And shall it be? Shall the spirit, that mysterious principle, unknown even to itself, that vivifies this earth, and generates these thoughts, sink also into the gloomy gulf of nonexistence, nor feel again created Beauty, nor see the Nature that it loved so much? It cannot be. The Great Originator, the Mighty One, the Unspeakable, hath not created for purposes vain and useless this power of conceiving … this wish and 'longing after immortality,' this hope … this faith which gives an energy to virtue, and raises in the breast these lofty aspirations … this fear of sinning, of deception and delusion. No! There are no fallacies with God. To prove that, if not to disprove all existence, would be to render all things doubtful."
6840	dbpedia	3	64	https://artistshomes.org/site/olana-state-historic-site	en	Olana State Historic Site			[ "https://artistshomes.org/sites/all/themes/hahs/logo.png", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olan-1.jpg?itok=7jNh1_tT", "https://artistshomes.org/sites/default/files/styles/medium/public/featured_image/Olana%20-%20View%20from%20the%20Main%20House%20bell%20tower%20by%20Andy%20Wainwright-%20contextual%202.jpg?itok=uYpFCCv4", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana-Main-House-South-Facade-by-Stan-Ries--Exterior.jpg?itok=4YewJUrJ", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana-Court%20Hall%2C%20Main%20House%20by%20Andy%20Wainwright-Interior.jpg?itok=YZxvOnwn", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana-Studio%20Interior%2C%20Main%20House%20by%20Kurt%20Dolnier-Studio.jpg?itok=Kf5D63zA", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana-Sketch-crop.jpg?itok=F8ukALJZ", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana-FEC%20portrait%20by%20C%20L%20Elliott%20-%20Portrait.jpg?itok=Inqu4Hnw", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/OlanaHudson%20Valley%20in%20Winter.jpg?itok=L6arFmJ1", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana%20-%20FEC%20Catskill%20Mountains.jpg?itok=Y0NH-gWZ", "https://artistshomes.org/sites/default/files/styles/medium/public/profile_or_theme/Olana%20-FEC%20Study%20for%20The%20Heart%20of%20the%20Andes%20-%20Masterwork.jpg?itok=hc_ccIWA", "http://www.tripadvisor.com/img/cdsi/img2/branding/tripadvisor_logo_transp_340x80-18034-2.png", "https://maps.googleapis.com/maps/api/staticmap?key=AIzaSyB1PRzfJVgzVvEz6JX5gizTWHk_A9Oj9P4&center=42.20904,-73.83542&zoom=7&size=280x140&sensor=false&markers=color:blue%7C42.20904,-73.83542&markers=color:green%7Csize:mid%7C42.22559,-73.86114%7C42.26898,-73.35344%7C42.34878,-73.29971", "https://artistshomes.org/sites/default/files/LUCE-Logo-Full-Color.png", "https://artistshomes.org/sites/default/files/sponsored-by-1.png", "https://artistshomes.org/sites/default/files/sponsored-by-2.jpg", "https://artistshomes.org/sites/all/themes/hahs/images/asmn-logo2017-sm.png", "https://artistshomes.org/sites/all/themes/hahs/images/iconichouses-logo.jpg", "https://pbs.twimg.com/profile_images/1541833748638990337/Bqt-YDdO_normal.png", "https://pbs.twimg.com/profile_images/1541833748638990337/Bqt-YDdO_normal.png", "https://pbs.twimg.com/profile_images/1541833748638990337/Bqt-YDdO_normal.png", "https://artistshomes.org/sites/all/themes/hahs/images/fb-logo-footer.png", "https://artistshomes.org/sites/default/files/article-content/Ext-Seven-Hills-Inn-850x478.jpg", "https://artistshomes.org/sites/all/themes/hahs/images/arrow-left-on.png", "https://artistshomes.org/sites/all/themes/hahs/images/arrow-right-on.png", "https://artistshomes.org/sites/all/themes/hahs/images/bottom-slider-left-on.png", "https://artistshomes.org/sites/all/themes/hahs/images/bottom-slider-right-on.png" ]	[]	[]	[ "" ]	null	[]	null	Olana is a 250-acre artist-designed landscape with a Persian-inspired house at its summit, embracing unrivaled panoramic views of the vast Hudson River Valley. The eminent Hudson River School painter Frederic Edwin Church designed Olana, his family home, studio, and estate as an integrated environment embracing architecture, art, landscape, and conservation ideals.	en	https://artistshomes.org/favicon.ico		https://artistshomes.org/site/olana-state-historic-site
6840	dbpedia	0	89	http://www.gill-lagodich.com/past-projects	en	SELECTED PAST PROJECTS — Gill & Lagodich Gallery	https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395541956140-QIENO7YKZYY6Y8HY3WW3/favicon.ico?format=100w	https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395541956140-QIENO7YKZYY6Y8HY3WW3/favicon.ico?format=100w	[ "http://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395541881126-QCO39K6IWI9H2SKZ6H7W/WEBSITE+LOGO.jpg?format=1500w", "http://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395541881126-QCO39K6IWI9H2SKZ6H7W/WEBSITE+LOGO.jpg?format=1500w", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496200274987-TYWASNP4U9344JARS9IZ/MARSDEN+HARTLEY+MET+BREUER+WAVE+PAINTINGS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496200567865-YAEYTF4H6F2979SXMKUP/HARTLEY+BREUER+WAVE+LABELS++GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496199979655-TWECJS4XSBQLVRLF63HB/MARSDEN+HARTLEY+MOMA+WAVE+MET+BREUER+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496606927328-5SZKMQXG1FIN3JV3UF97/HARTLEY_BREUER_SCHOODIC_in_situ_DETAIL_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496200032830-3XXHI4U87HKTKZ4TMH1D/IMG_0426.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496200961343-SJE76QA3LD21YXO8L9WZ/MARSDEN+HARTLEY+RYDER+BREUER+IN+SITU+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496201579889-ZYXQBAB1DAPQCR8UXCCR/MARSDEN+HARTLEY+RYDER+FRAME+DETAIL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496199993174-LGILZ4F1XRGND01NCJ3G/MARSDEN+HARTLEY+HARTLEY+MET+BREUER+RYDER+LABEL+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496202962242-UAT8W8V68C9YEWDZYSDG/MARSDEN+HARTLEY+MET+BREUER+CHURCH+HEAD+TIDE+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496203176026-DQ9OOWN6INO0RPAJVWN5/MARSDEN+HARTLEY+CHURCH+HEAD+TIDE+DETAIL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496203482153-T60PQXQFCZOEIREF8I8P/MARSDEN+HARTLEY+CHURCH+HEAD+TIDE+MET+BREUER+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496290387159-0ELM45FUIEBCBNLKRNC4/MARSDEN+HARTLEY+KENNEBEC+MET+BREUER+GILL+LAGODCICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496291363411-14EMDNNT5XW9SQDAON43/MARSDEN+HARTLEY+KENNEBEC+MET+BREUER+in+situ+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496290048404-PNUZ2Q9TQ7DXQ3YSX7O0/HARTLEY+KENNEBEC+MET+BREUER+GILL+LAGODICH+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496291128073-E1B14ZWZZC9AL0TEXAUC/MARSDEN+HARTLEY+MMA+MT+KATAHDIN+MET+BREUER+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496290772042-WNJ78OJ8QQ7TH1VFUHXW/MARSDEN+HARTLEY+MMA+MT+KATAHDIN+MET+BREUER+DETAIL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496290909888-X55S576KTOL9NZYK1RY2/HARTLEY+MT+KATAHDIN+MET+BREUER+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496290597201-AMA6XOHAM1I2AWW8ECRF/MARSDEN+HARTLEY+MT+KATAHDIN+MMA+GILL+LAGODICH+MET+BREUER+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423592101628-4R197EQY6R2SB3GQH8DA/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423502818814-CVLKY8HEM24L03L2B0PE/GILL+LAGODICH+BIERSTADT+IN+PROGRESS+2.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423494662857-9BVBD0KKD5VMLRR5NJSE/GILL+LAGODICH+BIERSTADT+PRESS.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423607054869-O9XC07JXTSVD37NVADKH/mtwhitney-300x221.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423608798047-7VEFD367WSKP88O91XAM/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1444082245053-2NPTX3S5PIQPGLFMFUI2/GILL+LAGODICH+BIERSTADT+SAMPLE+1sm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1444082250172-569UP197FD62K4H08CE2/GILL+LAGODICH+BIERSTADT+PROJECT+2sm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483815338910-46H4WE4GG5XFTBMHFUSS/BIERSTADT+ROCKWELL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610238932284-CPJW1W22S0UJ5GWF3CQS/BIERSTADT+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483818448458-QFUO6C75EYIPE86GBRMY/BIERSTADT+MT+WHITNEY+ROCKWELL+MUSEUM+GILL+LAGODICH+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483818288487-OAJ530H0CSCPU46CUU1J/BIERSTADT+MT+WHITNEY+ROCKWELL+MUSEUM+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1572879838888-B0SMZ7ZMQKU53ZSVX2GD/peter%2Bbarbara%2Bbierstadt%2Beric%2Btollefson_photo.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423511237809-SKFAOBE5WJEG94JMWBIK/vmfa-2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499798294369-2ADB1X10DXTHWX6HVUFG/%28c%29VMFA_2014-208_v2DS201501+GILL+LAGODICH+PISSARRO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499798599341-E1YJC7RMBZVGX565JZB5/%28c%29VMFA_E201502_0021+GILL+LAGODICH+GALLERY+VIEW+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499798602088-WLYIJP5EI4VI6GOPIMT9/%28c%29VMFA_E201502_0046+GILL+LAGODICH+GALLERY+VIEW+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499798607837-JIUL33965YVEAJ7984VV/%28c%29VMFA_E201502_0048+GILL+LAGODICH+BOUDINS+GALLERY+VIEW+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582929931-IPFHJTT4ZB7PZWHJWBCN/%28c%29VMFA_83-8_v1DS201312.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582975608-EOR879V5GYLL69NOWCO7/%28c%29VMFA_85-495_v1DS201312.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499796742098-MMNFXSRXXCNPDCB5N0LY/VMFA+GILL+LAGODICH+BOUDIN+DEAUVILLE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499796777819-0KZFWCZCRXD19KD65A65/VMFA+GILL+LAGODICH+DUFY+BOUQUET+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582767849-A25ZV7HP58P8GA0N1IF0/%28c%29VMFA_2014-206_v2DS201501.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582734983-BA2FUU545FVVTA5474QR/%28c%29VMFA_2014-206_d2DS201501.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582958391-DQLZV2V39V7C6FVVKKWA/%28c%29VMFA_83-38_v2DS201501.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499797989721-HPZYY1NW1H49VYM43X4A/%28c%29VMFA_83-38_d1DS201501+GILL+LAGODICH+MONET+CAMILLE+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499741855124-NVO5OXU82V0SW6PKHFAQ/%28c%29VMFA_2014-208_v2DS201501+GILL+LAGODICH+PISSARRO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499741829712-Z7AXGSGJ6P2PCUC0VMPR/%28c%29VMFA_2014-208_d1DS201501+GILL+LAGODICH+PISSARRO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499741848672-SMHXITUM7DQK09DTK74U/%28c%29VMFA_2014-208_d3DS201501+GILL+LAGODICH+PISSARRO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499741829653-5MFVD85I39HB85UQ3QB8/%28c%29VMFA_2014-208_d2DS201501+GILL+LAGODICH+PISSARRO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429583023910-KNJP8X5G9KS6WPN2DP8D/%28c%29VMFA_85-500_v2DS201403.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499797977298-YK72ZO1F9BL18HHGCL8H/%28c%29VMFA_85-500_d4DS201403+GILL+LAGODICH+SISLEY+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499797976933-96015XKYA90Z64ON1Q64/%28c%29VMFA_85-500_d3DS201403+GILL+LAGODICH+SISLEY+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499797954137-QWAGUUF5QR9W6OV2L0LI/%28c%29VMFA_85-500_d1DS201403+GILL+LAGODICH+SISLEY+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499797952787-VFENV9L0QGJIRFUCM2CT/%28c%29VMFA_85-500_d2DS201403+GILL+LAGODICH+SISLEY+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582715241-XR204ZKSFHXP7K07BWT1/%28c%29VMFA_2014-201_v2DS201501.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1429582689282-Q6GHDVY648ZC76SYII13/%28c%29VMFA_2014-201_d1DS201501.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499796749921-UYEEL8216PGZSWBWXYHS/VMFA+GILL+LAGODICH+VAN+GOGH+DAISIES+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527890156142-E4NTG3BM7XTJCTQBJQK6/van-gogh-vmfa.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499798946939-DB1O83O9Q5MDKEV12VFS/VMFA%2BMELLON%2BGALLERIES.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499799443962-EYAU3C2CXDNHS0GJXI5B/10896238_10203514583371907_2430915905828585660_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649990137645-O3ZVR30LEXPX7RT5K6PY/ART+BRIDGES+DIEGO+RIVERA+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649990614473-4NPIUKWKROTL0HEX69Y2/ART+BRIDGES+HUGHIE-LEE+SMITH+GILL+LAGODICH+FRAMES.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1663726003945-EOZIHYWHX8CHZ6M1YCNC/HUGHIE-LEE+SMITH+THE+WALLS+GILL+LAGODICH+FRAME+detail+2.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1663726003990-K0SRO4VXU0IMX78Q5OQL/HUGHIE-LEE+SMITH+THE+WALLS+GILL+LAGODICH+FRAME+detail+1.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1663724827784-OM4LHBDD6R1IROHKEW5V/HUGHIE+LEE+SMITH+ART+BRIDGES+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649994325286-OFRL4EIG0IJ3VB53AXRW/EDWARD+STEICHEN+EXALTATION+OF+FLOWERS+GILL+LAGODICH+FRAMES+1+OF+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649994325388-3IGXOBU5J46U3RZHN5MR/EDWARD+STEICHEN+EXALTATION+OF+FLOWERS+GILL+LAGODICH+FRAMES+2+OF+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1714615217708-I8MFFBDS9D8M7ROHUULY/BENTON+FRAME+PROFILE+%28STEICHEN+EXALTATION%29+GILL+LAGODICH+FRAME+ADAPTATION.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1714615156989-9HB1ZWZ42IKO5CWBH9RG/STEICHEN+EXALTATION+GILL+LAGODICH+frame+in+progress+burnished+black+patina.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1714614629030-TAG94U9F99VTF3X8JEMT/TANNER+THANKFUL+POOR+ARTBRIDGES+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1714614634572-PDQMVMPXK1E98U14UKWW/TANNER+THANKFUL+POOR+ARTBRIDGES+DMA+in+situ+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527732331800-CUPV2VQ2FCTSB0DQQIK2/AVERY+AIC+CONVERSATION+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527732316209-W4VC88H9MGB4HQ5V2885/AVERY+AIC+CONVERSATION+in+situ+detail+wm.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527732352006-LKS15M8F7XIVV0HO6I0S/AVERY+AIC+CONVERSATION+GILL+LAGODICH+in+situ+side+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527732360908-6ZWUUPGVPPVZ3Z0ZO783/AVERY+AIC+CONVERSATION+label+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646628531547-TVCNMQV0CMJ9GAF33JZB/AIC+BERNSTEIN+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646628530883-Q0JZW05BH7UOQ60P41WI/AIC+BERNSTEIN+GILL+LAGODICH+frame+detail+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646628530729-PF03J152BQ9CWP067PSE/AIC+BERNSTEIN+GILL+LAGODICH+frame+in+situ+gallery+view.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477793093637-L30IYF9P3EOVQ3204932/AIC+BRETON+SONG+OF+THE+LARK+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477800720540-UAWK6ZMH2KM24EUE1WT0/AIC+BRETON+SONG+OF+THE+LARK+GILL+LAGODICH+frame+wm2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661107980091-77YPV7TMKO07GHBWXX75/CAILLEBOTTE+PARIS+STREET+RAINY+DAY+ART+INSTITUTE+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661109850625-78TXNUACD4YXCQ18VTBD/AIC+CAILLEBOTTE+GILL+LAGODICH+FRAME+detail+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661108692576-FG3UHZCBRCX7SCDHT2IY/AIC+CAILLEBOTTE+detail+2+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661108692111-0UYLIWIJYIAQ4PF89UB4/AIC+CAILLEBOTTE+detail+1+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661109092486-Y35OTBEBZI2PBLF40513/AIC+CAILLEBOTTE+wall+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425482810964-IXFEGQ4OWOWAI86OXGPP/AIC+CHASE+SHAD+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523423948185-PQ3MPT8F025VWZKBXN1P/AIC+COURBET+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523423967831-NR6OXC49BFCDUGHNBKET/AIC+COURBET+GILL+LAGODICH+CORNER+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523424001936-HAZO0VAH84136C1D1R85/aic+courbet+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424198714497-FEV154B5KC0VF5W6Y809/AIC+EAKINS+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523422977856-VMZZD4EA0FLWZWK447MG/IMG_3160.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504887824143-D3EW2FYONB365LT9OQWU/AIC+DESCOTT+EVANS+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504887843240-4D9USSTSWMERXU1VSIDQ/AIC+DESCOTT+EVANS+GILL+LAGODICH+det+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425768792868-W664NTO3NA8UUQVP5HVB/AIC+HARTLEY+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423714330441-IF6U6K9J3RWCLZZSP3T9/AIC+HEADE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425765623264-WNJ0P6YRBARWUBB8ETOE/AIC+HEADE+1870s+DETAIL+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523423077751-LQQQ6FPYD6C1OGADEAG2/IMG_3163.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664505538475-8U1LTXACLOKUV0RTWC71/AIC+HITCHCOCK+FLOWER+GIRL+GILL+LAGODICH+Barbizon+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664505591748-U1IMCIN04T1EFXHX8JG8/AIC+HITCHCOCK+GILL+LAGODICH+frame+detail.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424228748348-J2K4Z31RQS8QUWM0DO7E/TERRA+AIC+Homer+Whittling+Boy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424544079822-UFQ03XZCZCNAKSSDKUDK/AIC+HOMER+PEACH+BLOSSOMS+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523422709927-UCMLAPW2QU6Z57ETRZMJ/IMG_0916.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423941831911-GY4D9KOZWTGIWHPKZC1V/AIC+HOPPER+NIGHTHAWKS+cnr+det+no+back+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426117931273-OE8NIQPJE8KPB051FS71/1077002_607088845992087_1658278518_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1524526564650-XUVZF2MS5BQ1FX5ZXBF2/AIC+INNESS+SUMMER+IN+CATSKILLS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1506835799346-3LYRL8G0ADT5OHOSS5WB/AIC+JOSHUA+JOHNSON+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1516764583622-T7OC9PS1UMUJIF7NAPIF/AIC+MANET+GILL+LAGODICH+FISH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1516761560393-HTFU4F8M0KPAEHT4LZTR/AIC+GILL+LAGODICH+MANET+BULLFIGHT+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424231983651-40F6RZ29EG936CCS52R4/AIC+MELCHERS+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523420248082-5NON76WQDMOF7FCY0WLJ/AIC+MILLET+GILL+LAGODICH+full+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523420272153-GYE5DU7Z8JOE3Y0GYDOL/AIC+MILLET+GILL+LAGODICH+crnr+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1665013413533-ER5WUBAF4VX76DBV2NAP/AIC+MILLET+AUVERGNE+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643008487809-4MO9WE4P07GXY1BBBJUS/AIC+WM+SIDNEY+MOUNT+BAR-ROOM+GILL+LAGODICH+FRAME+unrestored.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523424442663-UPGTOGX09YY8XDD4G2PU/AIC+MOUNT+GILL+LAGODICH+corner+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523467408255-GE7WF23R7NERRMIMMCKY/AIC+PISSARRO+PLACE+DU+HAVRE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1493738476263-539HVB2UFF4Y3SR6C30F/AIC+ROESEN+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1493758554401-2P9H25H8EG3HTS37QNHL/AIC+ROESEN+GILL+LAGODICH+CORNER+det+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1506999189687-QE9H5VXNJ4KER56GCBEV/AIC+RYDER+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1506999244882-KC919GYC0XSC6TZ6KOKD/AIC+RYDER+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423715305319-7I7GC6A8BKCQ2092FHA2/AIC+SARGENT+TORLONIA+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610339554914-ZE6OJCOXSWGQMZDLGGRZ/AIC+SARGENT+TORLONIA+GILL+LAGODICH+frame+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610339560040-A6X0GLIJM5DXTUUAL4UL/AIC+SARGENT+TORLONIA+in+situ+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610339558056-OXQZWD56YFSYCUT5ZRA6/AIC+SARGENT+VILLA+TORLONIA+museum+visitor+in+situ+GILL+LAGODICH+frame+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1452652679304-LOUOO6X835WT7T4CKXCN/GILL+LAGODICH+AIC+SARGENT+VENETIAN+GLASS+WORKERS.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1452652702159-VKFW7KAZPIZKV55CBFCM/GILL+LAGODICH+AIC+SARGENT+VENETIAN+DETAIL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1523421886139-KA6B0JXCGGGUJAJVECQ3/DSCN0240.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424239183371-E1ZF6ZAC5H8IQNZTJVPG/AIC+STANFORD+WHITE+THAYER+dbl+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641879605964-TU101DRZE2XBRQYU61Z5/AIC_Torr_GILL+LAGODICH+replica+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646189390808-SO6GOKMKXRRODNR11HLK/AIC+VEDDER+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646189387872-QMI8ZLUHWL004J9E6Z70/AIC+VEDDER+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646189390646-C6WYAO0OX21QB9QND7TA/AIC+VEDDER+GILL+LAGODICH+FRAME+detail+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424234533083-9GO88L5O133B4O1KJEJU/AIC+CHARLES+WHITE+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426039698354-A7K682MFIUVGM0MKP7OW/AIC+WOODRFUFF+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641968573675-W4O879SA29DFH8V7HF4J/AIC_Zorach_GILL_LAGODICH_frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641968457176-8T8HBTEI3OH3D2V11W6K/AIC_ZORACH_GILL-LAGODICH_frame_detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641968485001-EUZQFLAOXG1OGGSYT73X/AIC_ZORACH_GILL-LAGODICH_in_situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641968448433-PFJS2K391180SF6XEW43/AIC+ZORACH+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578198728119-FIDO399JGCM99CFABYMI/GL-9473_Amon_Carter_George_Bellows_GILL+LAGODICH_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455165611378-EU3YRGP0LK52C3CH7W21/992885_597755056925466_306544468_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650128770700-GGFA7T9AR9AZBPY36WDZ/HASSAM+FLAG+PAINTINGS+in+MET+HASSAM+BOOK.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467647671049-T0ADB7HKMYND6F1XVLTQ/LAGODICH+BARCLAY+HOTEL+CLOSE+UP.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467568997455-A9CS5NTNA0KS2GQ23UH3/Front-Desk-High-Res-1500x908.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1469382485061-FFTAA9AE69E9FRNH03MU/GILL+LAGODICH+COLMAN+LAGODICH+REPLICA+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1469382904190-WJH1REG3HSKXG6JQGY0W/LAGODICH+COLMAN+DETAIL+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1469382899763-8HGEDL0P178YYOF3BGYK/LAGODICH+COLMAN+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1469383207929-F8RKTO8BDHAPCPSAPZAG/LAGODICH+COLMAN+signatures+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504756592948-X6N18R21N9A407EU7PP7/BARCLAY+LAGODICH+COLMAN+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1469380528642-WEGO272NLPSNAVQWS9GQ/GILL+LAGODICH+FRAME+BARCLAY+HOTEL+LAGODICH+COLMAN+PAINTING+COPY+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441772791978-4UF59IFX15JU48URFD7A/GILL+LAGODICH+BMA+DE+COST+SMITH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441847928390-KK21OSTQNTRKCGKFWI60/GILL+LAGODICH+BMA+COUSE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591757227397-1H2EWTICSNRWF501OESE/BRUNIAS+BROOKLYN+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591803944015-TS90CN7BFGXAX33EXE35/BROOKLYN+CAMPECHE+GILL+LAGODICH+FRAME+RESTORATION+2012.45_framed_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426106264769-JVQO7LN3O8FOVYB6SZ8T/BMA+CEZANNE+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591676031528-BI8KLP08RCF1PLVFQ81C/DEGAS+FEMME+BROOKLYN+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591677170194-WX8BUY4RGTE2YQFGOELA/7494-VAR01-REPLICA_GILL+LAGODICH+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1675872918084-2HJCZ2ZSBEIL31WT9KLE/BMA+DEGAS+BATHER+GILL+LAGODICH+frame+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526172737226-CISYF5E8YN4WX6EFP2YT/BMA+DEGAS+MLLE+FIOCRE+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526172597268-BJR12T7XWZBX6JFUUTV0/BMA+DEGAS+FIOCRE+CORNER+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526172582488-1KZMF541TDXJO4CSVBK7/BMA+DEGAS+FIOCRE+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1675872922031-4EZG5EBEAHBMNZVHAIIT/BMA+DEGAS+PORTRAIT+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1675872918431-J6S3GDRALLIOJA5U6A1C/BMA+DEGAS+PORTRAIT+GILL+LAGODICH+frame+corner.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1675872921180-HKRU0AO1LAXS2YAQCSEI/BMA+DEGAS+PORTRAIT+GILL+LAGODICH+frame+side+view+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1675872922779-9FTMXA6ZAE6PNCNUQPUT/BMA+DEGAS+PORTRAIT+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591674012472-25BG2MEYRG3J6PGQLZNP/DOU+BROOKLYN+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591674376313-3A60J6BR2PW9GZ53W8JT/CUR.32.784_framed.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591758670737-8DRJ73HVSJSHWE0U8GQT/DUGHET+BROOKLYN+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661134777062-64FIVO9XV0EURXIZWBJ1/IMG_2514.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661134775106-AY9VYW04R0OJ6BLUUM50/IMG_2513.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661134777271-4ZFNP3ESQPV9MX3F3PRR/IMG_2515.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661134775096-W5BHC8GLNGQOO4U1QEUW/IMG_2512.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492483089771-95HWXSWU1216OLOLFUZM/BMA+4+DUVENECK+PTGS.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492483080136-8AFXZQW3C8EG36QJLGOF/BMA+DUVENECK+DETAIL+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492483100007-DOBHNUIEG571PHQLRIVO/BMA+DUVENECK+DETAIL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492483106992-GX5SWUH4GKXRA8EKM30B/BMA+DUVENECK+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486822155014-4DEP73WWKV1DQWW1YMXU/BMA_FEITELSON_GILL_LAGODICH_1392-VAR_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486822368753-Y3RWRREC2AC0MZKVJ5Z3/BMA_FEITELSON_GILL_LAGODICH_1392-VAR_DET_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643492996076-3VOI507K9BIJRFJ1FKCM/BM+FRANCIS+GUY+WINTER+SCENE+GILL+LAGODICH+frame+web.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643493635792-M78VAIFDMTBBXLY4VDEH/BM+FRANCIS+GUY+WINTER+SCENE+97.13_key_Design_scan_bw.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643492711710-26KMXWBUKGN4MAUD8GOE/BM+FRANCIS+GUY+WINTER+SCENE+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643493629198-A0OOI0DB5MQW0LBGVE3M/BM+FRANCIS+GUY+GILL+LAGODICH+frame+detail+insta.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643494204458-Y9EJ0KS7IJ6L3TMAEWY5/BM+FRANCIS+GUY+WINTER+SCENE+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1507611573579-N8JIH45EWFP37CDUAO6I/BMA+HALS.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1507611565361-ZXETIBJE8HMHCE7H6265/BMA+HALS+CORNER.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1507611571462-YEUINV8HXBAX26OVOSPN/BMA+HALS+SIDE+DETAIL+IMG_2716.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1507611561772-74K727LK79RT7PKZPHJH/BMA+HALS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667877206362-LHHEHT0O5QHKD3I9UDLT/BMA+MATISSE+KUEHNE+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667876429820-XDR8L90YBMFF25XLT2XC/BMA+MATISSE+KUHENE+GILL+LAGODICH+frame+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667876551059-YHUR2QP5Q6TGEHXSVQHO/BMA+MATISSE+KUEHNE+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667877232483-MF390TEFO4X10AMBJQM4/BMA+MATISSE+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591667523826-49ES7I9F5BU7YW8HLZTI/MONET+BROOKLYN+ISLETS+PORT+VILLEZ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591667540014-NGAS39NZBN8NDRAR9L7S/MONET+BROOKLYN+ISLETS+PORT+VILLEZ+GILL+LAGODICH+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591674672619-KTPXT2W925CTADK5KCFP/MONET+VILLEZ+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591667897997-UOJMMY93JVEWA707X6Q8/407591_490997734267866_530390266_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591668548548-27MQOFH5KBWURT6CQRAA/MONET+HOUSES+PARLIAMENT+GILL+LAGODICH+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591668352010-HA4REIW53K7P7HY2CJA9/MONET+BROOKLYN+HOUSES+PARLIAMENT+GILL+LAGODICH+det+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591674681548-ETFG2XBRW5HS1Q86SA4O/MONET+PARLIAMENT+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643664006917-83TNXXK4AGRHJMSJ4GLZ/CHRYSLER+BANNISTER+GILL+LAGODICH+FRAME+full.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643663649733-KLCG79DC4CIIADY2PORG/CHRYSLER+BANNISTER+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455687860876-N9F2IG9G4VLE777D4Y3W/GILL+LAGODICH+CHRYSLER+DAUBIGNY+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455687987670-9OHODD28O79B2SXPQFIK/GILL+LAGODICH+DAUBIGNY+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645068939538-DLW2LB5YGO0ED4AXOI73/CHRYSLER+DAUBIGNY+LABEL+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455691678522-B0SCW5YMG6EEFVKT51M4/GILL+LAGODICH+CHRYSLER+JG+BROWN+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455691799866-DDH37BCY2Z51P8SMSSQ2/GILL+LAGODICH+CHRYSLER+JG+BROWN+FRAME+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643151447576-YI6F2YVNAQ3S93EA7ZUX/CHRYSLER+DELANEY+JAMES+BALDWIN+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643820341695-5Z2UVE0J9KFKKNQS1TP3/CHRYSLER_Glintenkamp+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643820169041-OWO2BFG4TQPZUM3FFI02/CHRYSLER+GLINTENKAMP+in+situ+2021_Journeys_02_17.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643821164380-DB6Y8DAS1EBS0PYKTKUM/CHRYSLER+GLINTENKAMP+FRAME+DETAIL+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643156975208-LPO6RHI24WHZZH068SF2/GILL%2BLAGODICH%2BCHRYSLER%2BHALE%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643665583816-2Y1VVXZLUEXA9FSPP2WN/CHRYSLER+INNESS+VETERAN+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643663625122-T8G1V1NEOUMAXFYDXLS7/CHRYSLER+INNESS+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648664031140-03FP54J5AXFWDF6U0492/CHRYSLER_Marquet_GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455693555766-1A5KG2Q0ZYXQWJTQEM0V/GILL+LAGODICH+CHRYSLER+MORAN+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646629922756-F1MVAJQS27FRX0CIUE17/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668307507277-RUSK88CUDTFDD82WT420/CHRYSLER+SERUSIER+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668309260128-UMXT8AGEE07XCJJORTTC/2021.56.alt.02.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912838492-DRA2PNUUUY5MC5YG29PF/DOVE%2BRIVER%2BBOTTOM%2BGILL%2BLAGODICH%2B.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912873630-SPK4F2N7I5K4JNRH1W1G/DOVE%2BRIVER%2BBOTTOM%2BLABEL%2BGILL%2BLAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912891584-LZOL7U3FVBGK3OHO6YYS/DOVE%2BRIVER%2BBOTTOM%2BDET%2B3%2BGILL%2BLAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912902862-CHGXIWNQYUW3VA8M26L3/DOVE%2BRIVER%2BBOTTOM%2BGERSHWIN%2BCHRISTIES%2BGILL%2BLAGODICH%2B2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912911746-SKAT8Q3P2VFE3WH83LAA/DOVE%2BGERSHWIN%2BGILL%2BLAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912920259-34RFGXZDKEZUNY0K2YBI/DOVE%2BGERSHWIN%2BLABEL%2BGILL%2BLAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912933931-FILX7BHL6NKJ604BLXEV/DOVE%2BGERSHWIN%2BDET%2B1%2BGILL%2BLAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645150885266-Q15CYJYTWWPKN7DA70SO/AMMI+PHILLIPS+CHRISTIES+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667264482481-NJ7ZFDMWSTCR3N859COH/PICASSO+TAUREAUX+GILL+LAGODICH+FRAME.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667264621847-0OL67O97X0FK96DZE5UG/PICASSO+TAUREAUX+GILL+LAGODICH+frame+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667264396368-BVS4P575LHJ1LU9YXB5K/PICASSO+TAUREAUX+CHRISTIES+AUCTION+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643949220150-LOJJS8VNMDE8J3XCI72W/NORMAN+ROCKWELL+COUNTRY+EDITOR+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643950687434-T92C3HB1CP9TO7OVBHMF/ROCKWELL+COUNTRY+EDITOR+GILL+LAGODICH+FRAME+detail+left.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643950699126-THNHRVQLLM3V3T522D99/ROCKWELL+COUNTRY+EDITOR+GILL+LAGODICH+FRAME+detail+lower+left.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643950892585-UEHVGNEZVWBN3BYGYHXR/CHRISTIES+ROCKWELL+REPL-8892+DET+2+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643950904378-83FKJ3BBEEDKXPY408LJ/CHRISTIES+ROCKWELL+COUNTRY+EDITOR+REPL-8892+GILL+LAGODICH+FRAME+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650160926972-57K4R5YGXC2R0WO7HIRS/homer_catalogue.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650159348720-G5MNSPW6B5W0WZ2VD02V/CLARK+HOMER+EXHIBIT+HEADER.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650161164468-CDN1A2O302AGEJ62R6JI/CLARK+Homer_GILL+LAGODICH+FRAME_8726-REPLICA_Lemon.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650162326712-6PCRP8XT11K2206H0LIZ/CLARK+Homer_GILL+LAGODICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_Feeding_Time.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650163699339-UUGL5VCHR7W3T553NS2C/CLARK+Homer_GILL+LAGODICH+FRAME_8726-REPLICA_Shepherdess+of+Houghton+Farm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650164242534-HTT2TG6G5UIGUVBULQSL/CLARK+Homer_GILL+LAGODICH+FRAME_8726-REPLICA_Perils_Of_The_Sea.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650163414708-2S0LBP2P8KYHGR192CYV/CLARK+Homer_GILL+LAGOICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_Beach_Scene_Cullercoats.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650164648782-4FUMQOCCFVBCYLRCO9L9/CLARK+Homer_GILL+LAGODICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_An_October_Day.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650163052382-0S8BF7BJSMZIW3L8GB6S/CLARK+Homer_GILL+LAGODICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_A_Good_Pool.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650164009311-I77ARWT9Q6MXZOTUFLTR/CLARK+Homer_GILL+LAGODICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_Fish_and_Butterflies.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650160401770-ALSBJ3SQ8LBU0N1FQ4JZ/CLARK+Homer_GILL+LAGODICH+FRAME_6534-VAR-%284.5_inch%29_REPLICA_The_Eagles_Nest.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757902318-ZVIANWNFZJ69MFXIXLMO/COLBY+BROWN+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757908975-OMEYK56DBNL9768ZW3OG/COLBY+GRAFTON+TYLER+BROWN+CORNER+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757870970-90SAPVHP415ZAE8385S5/COLBY+BROWN+CORNER+DETAIL+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757890407-7FX2SJWQTXSPPS4Q1HFE/COLBY+BROWN+GILL+LAGODICH+FRAME+in+situ+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757897352-D5R5M5IUEVT0T2WKX5MG/COLBY+BROWN+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645757903513-7TBZRG0HQK2TX3V2C4XI/COLBY+BROWN+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576170828-YLJQH8N2AFZTK0RP9LLA/IMG_7915.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576206336-MXWB57LHDI9FV0RGDMWB/IMG_7918.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483575982608-PLVB1T69DOUQ29AXLMY4/HARTLEY+TEXTILE+COLBY+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576080854-DJEZAKZGQT4L951UB414/HARTLEY+TEXTILE+COLBY+GILL+LAGODICH+det++wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576315650-SHO63BE39R7SZ71FXXCZ/HARTLEY+CHURCH+HEAD+TIDE+COLBY+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576376117-JJ4QYLYJRU7HNEIW4V07/HARTLEY+CHURCH+HEAD+TIDE+det+COLBY+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1465056446506-3VO4A0YKPOUANKUGNY73/COLBY+HARTLEY+CHURCH+DIDACTIC+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1483576435572-44ZZJ3RSG61HQOFKAKZR/GILL%2BLAGODICH%2BCOLBY%2BHARTLEY%2BAUTUMN%2Bin%2Bsitu%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350897410-7G6RBS7MZ2S7KWN4UMN7/COLBY+GILL+LAGODICH+POLLOCK+frame+full.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350286314-GIME2SJZCBARK5L99QIU/COLBY+POLLOCK+GILL+LAGODICH+frame+corner+4.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350296232-PL5FJE7G9866BCY6NSVL/COLBY+POLLOCK+GILL+LAGODICH+frame+corner+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350280716-P7VQAOW3HS7IPBAITNRT/COLBY+POLLOCK+GILL+LAGODICH+frame+corner+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350276678-XY3APBNPJ29RAQ08R59X/COLBY+POLLOCK+GILL+LAGODICH+corner+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643350344469-WYUN9T99OLMFG7YX4FT1/COLBY+POLLOCK++GILL+LAGODICH+frame+insta.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643352171810-KUNLKCBC8QX4Z04LP0RQ/COLBY+POLLOCK+GILL+LAGODICH+FRAME+side+view+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1505961631304-9EFP55NRMAC7XEK4C1YI/CBMAA+BEARD+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1505961596717-VBAW5Y3FX7405RP05W8N/CBMAA+BEARD+GILL+LAGODICH+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426647470450-J90A810PNX2PBQ4GAHS4/CB+BENSON+SUMMERS+DAY.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1505962467887-OGUNZ3QJFXPUXN1R6XTY/CBMAA+GILL+LAGODICH+BENSON+SUMMERS+DAY+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661384676544-RVBVXZX60KIXQCJTCA27/CBMAA+CRAWFORD+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661384675133-S5C6132MPAMMLZ8S6I3E/CBMAA+CRAWFORD+GILL+LAGODICH+frame+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661384675024-RX9ZRO2IBMD5SYUU3CZN/CBMAA+CRAWFORD+GILL+LAGODICH+FRAME+DETAIL+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424546666648-MKCIIN5IZKKGOE1P9EGL/CRYSTAL_BRIDGES_HASSAM+wb+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1442357740060-8P4T9DY0T4LOLOKE249Y/GILL+LAGODICH+CRYSTAL+BRIDGES+LAFARGE.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448735191094-APXYOI0HB6FCY1X5ISMA/GILL+LAGODICH+5982+CBMAA+MORAN.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448680286367-7WUWE43MU4O0KWITUOCM/CBMAA+RIMMER+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578882504037-2BGWD8X2Z2W8CU6GTB0H/JOHN+SINGER+SARGENT+STEVENSON+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578882499884-N9I3QGJG63SW4TNXB6T4/SARGENT+DETAIL+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661395611326-JMPZZ83RN0WSB2KH3JGE/CBMAA+TANNING+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448681929993-25LOE1VKBESC8FCNBPP4/CBMAA+WATERS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668400499816-X477JX23FT8URW1YN5QA/CRYSTAL+BRIDGES_Pettit+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668400471291-48ZZI3DU3DTNBTGU1ERC/CRYSTAL+BRIDGES+GEORGE+PETTIT+UNION+REFUGEES+detail+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668400471350-D0Y1O624LQ7R22SX06YD/CRYSTAL+BRIDGES+GEORGE+PETTIT+UNION+SOLDIER+GILL+LAGODICH+frame+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668400491193-RIWZZNOQN0J6EJ9VLJQF/CRYSTAL+BRIDGES+GEORGE+PETTIT+UNION+SOLDIER+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1668400482115-PEKN7PJ7IP1DFA8BIC35/CRYSTAL+BRIDGES+PETTIT+GILL+LAGODICH+FRAME+detail+4.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677562720197-5ZVDR4OPAOYOS6WKHKYE/CBMAA+HOPPER+BLACKWELLS+ISLAND+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677562093452-7N1TM0ZQ9HLU4JCL4CSR/CBMAA+HOPPER+BLACKWELLS+ISLAND+GILL+LAGODICH+FRAME+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677562101612-3Q5E68PUNHWEBN9QBGQX/CBMAA+HOPPER+BLACKWELLS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642002945912-R8U9BQEAS8XBKD4NAZS6/SARGENT+ALPS+CUMMER+MUSEUM+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1490729206581-CBNA1C6WADL8MPUP9SE7/STUART_DAVIS_DALLAS_GILL_LAGODICH_RDS-440-REPL_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497406670795-5BBDU38JL4E1I0KGTUFT/DAM+ADAMS+REAPERS+montage+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496884430694-GO7KEJ0H7Q0SQ2QD5D2X/DAM+BENTON+TRAIL+RIDERS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497496974199-I8B34FU6RHH1NZNCGRP5/DAM+BENTON+NEW+MEXICO+in+situ+restored+frame+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496721822317-1PC05R4GRQZ3683U81HX/DAM+DIXON+RUNNING+BIRD+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497409265610-PE2XSOCQOJ8NEX6LFEBC/DAM+DIXON+NAVAJO+montage+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496760532352-V7L1FKAVF9YWMWVKM82M/12+DAM+DUNTON+EVENING+RANGE+FRAME+RESTORATION+in+situ+GILL+LAGODICH+wm++copy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497497525924-7OZ8R55OZM8T95VOWFJ2/DAM+DUNTON+BLACK+BEARS+post+restoration+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496723722079-2SIWM1CFL4JUSEH1B9VP/DAM+FARNY+SUCCESSFUL+HUNT+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497490188354-LWXK10YMR43DN96JUI0X/DAM+FARNEY+MESA+VILLAGE+montage+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497491623662-G1ZABSGLOLDYPJ3Z2EB7/DAM+FARNY+WYOMING+INDIAN+GROUP+montage+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496717255640-V31W7LIB3J9M59OHIOVY/DAM+GIFFORD+EARLE+FRAME+RESTORATION+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1485754618210-C8UPMEWGQD0YOX68I87G/DAM+GOLLINGS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496769388349-RM2DS3BHKXAES1XPY1PC/DAM+GOLLINGS+THE+REP+montage+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609905959564-LIREWH0RP3OE6CDWA8D8/8244-VAR02B-REPLICA_DAM+Hartley+color+adjusted+montage+GILL+LAGODICH+wm+website.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1485756367950-4LHTT2RE01WFQ5SO45UY/DAM+HENNINGS+RENDEVOUS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497408448950-36XSOUUNS0PBE71RSLEB/DAM+HENNINGS+ENCOUNTER+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496885779494-WSCFDV04N2CJT8KHYT11/DAM+JOHNSON+GUARDING+PASS+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496888619823-6HK70F9TVHH5NCOPO8WQ/DAM+JOHNSON+TRAIL+BOSS+GILL+LAGODICH+montage+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643160453642-10GV7S2070T0B99ZAO8I/DAM+PETRIE+MORAN+INDIAN+PUEBLO+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496716546719-G5RLLLIQHHLN5SDIKJU1/DAM+MORAN+SNOWY+RANGE+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496719250788-LG1QJT49IO26VFF4JJ0E/DAM+MORAN+GRAND+CANYON+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643158967131-6ZJSHBGNCB4TJ9ND6F9F/DAM+MORAN+GREEN+RIVER+BUTTE+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496758170029-W2D76WSSHLHXWHQ2BMGL/DAM+PAYNE+DESERT+CLOUDS+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647814144072-XUPQ43BPD4CV46JN6DRK/PIWAA+DENVER+CM+RUSSELL+ENEMYS+COUNTRY+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647814221133-16SLF4V1SO1IAQH1LOYM/GL-1939_GILL+LAGODICH+frame+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496757062854-INQK95MJIFAWAM2XYOXL/DAM+MAURICE+STERNE+PEPPERS+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497496404002-BTSX6H4CVM58BOMQCEXE/DAM+ALLEN+TUPPER+TRUE+post+restoration+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1559518619910-FBSQQ6EVMRS0WP4IXQJP/8845-VAR-REPLICA_Charmy_GILL+LAGODICH+MONTAGE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1559521019586-3VYK3HOWFGGX8JAD49Q8/Arts-Club-Emilie-Charmy-13.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1559521555685-12U5RVBZITZSRU9HUEVE/Arts-Club-Emilie-Charmy-7.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646193299571-LF46YHK06A942T213AA0/GETTY+SOROLLA+x+3+GILL+LAGODICH+FRAMES+in+studio+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646193312883-FH9BS4D1XBFMR6SJQ2LK/GETTY+SOROLLA+x+3+GILL+LAGODICH+FRAMES+museum+montage.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609919195632-Y00H63IY4O0B4YGA9AOJ/FABRITIUS+GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609919226610-QA5D1UMW44R0KIZ2WX2W/FABRITIUS+GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAME+w+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609919516534-CSN97US0DZX2HI8THEPH/FABRITIUS+GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAME+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922496717-D9JAS7DXTNS9GV8S36RH/GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAMES+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609968068872-XLNJ76ATLW6961ECE1I1/GOLDFINCH+WB+MOVIE+SCREENSHOT+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609920451242-HFT2EV4PWN9WVD0STPSN/DOU+YOUNG+MOTHER+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+wm.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609958918674-IM0DKVEXGOQHYDGQUHNQ/DOU+YOUNG+MOTHER+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+det+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609958919495-2VVPUDCZFX23H0JKXR7C/DOU+YOUNG+MOTHER+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+det+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609958927081-MYO0HZ886740P09D45ZQ/DOU+YOUNG+MOTHER+WB+GOLDFINCH+MOVIE+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609921410869-H7DXYXFG8OYQF0Y8L9ND/REMBRANDT+SIMEONS+SONG+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+wm.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609959323347-E7DSSSI8YQMBU0W95QLY/DOU+SIMEONS+SONG+WB+GOLDFINCH+FRAME+det+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609959325093-E421BL7DZB5C7JWUTGGF/DOU+SIMEONS+SONG+WB+GOLDFINCH+MOVIE+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922855751-WL0028QQY4R2HMH1VV4D/HALS+PORTRAITS+WB+MOVIE+GILL+LAGODICH+FRAMES+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609960624402-4DUG7XVLGHC546FQTIV9/REMBRANDT+CHARDIN+HALS+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAMES+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609966751190-T65VUS6NU824FLXRJGTN/GOLDFINCH+WB+MOVIE+SCREENSHOT+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619923621998-T3XCF4LIZJRP8QPXVBOZ/GOLDFINCH+WB+VAN+DE+VELDE+WINTER+LANDSCAPE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619923622157-EWG6JPCO2HE1GB0WMCNZ/GOLDFINCH+WB+VAN+DE+VELDE+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609960656685-T9ESEX1NVVOJSPN1R2Q3/CHARDIN+BUBBLES+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609960657643-F2OEZYBCDS9CATDTEX72/CHARDIN+BUBBLES+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609960658738-52KV0SWK2D8T7DZO4ZC9/CHARDIN+WB+GOLDFINCH+MOVIE+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609965921632-8R1HDJDS89GUZ3CPKG1R/REMBRANDT+SELF+PORTRAIT+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609966570313-U5PCB6DIM4NEXDQXCG6L/REMBRANDT+SELF+PORTRAIT+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+det+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609966257259-0PNKCNHNXJF37OUFYBW6/REMBRANDT+SELF+PORTRAIT+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+FRAME+det+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609966124397-XMEIQUJ98NA3HHUDT3CI/REMBRANDT+SELF+PORTRAIT+WB+GOLDFINCH+MOVIE+GILL+LAGODICH+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619922461262-O7FZC0ZFQTOTA3KMTEXF/GOLDFINCH+WB+REMBRANDT+ANATOMY+LESSON+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619922459826-UMJOKBY4S4NP7CM7OZOH/GOLDFINCH+WB+REMBRANDT+ANATOMY+LESSON+GILL+LAGODICH+FRAME+corner+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619922459776-19MJKJJUGLSYZLL7Z2HO/GOLDFINCH+WB+REMBRANDT+ANATOMY+LESSON+GILL+LAGODICH+FRAME+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619918288578-MYSB786O9AT9EBHOWQY5/GOLDFINCH+REMBRANDT+ANATOMY+LESSON+LABEL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619922951562-QH5NC9D6T5553VUOV54M/GOLDFINCH+REMBRANDT+ANATOMY+LESSON+GILL+LAGODICH+FRAME+in+progress+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619922757506-AN0I23N0PFAMX2FCO0BY/GOLDFINCH+REMBRANDT+ANATOMY+LESSON+GILL+LAGODICH+FRAME+in+progress+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619917421058-GTBEC6LG96P8MIK54VM8/GOLDFINCH+FILM+REMBRANDT+ANATOMY+LESSON+FRAME+GILL+LAGODICH+GALLERY+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619917420770-ACYXXOBCWQPWSMW9S9KC/GOLDFINCH+FILM+REMBRANDT+ANATOMY+LESSON+FRAME+GILL+LAGODICH+GALLERY+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922681314-KYW46LD7FKAGZC8EU39Y/GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAMES+4+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922555875-DJ0XS3KT59W9ZDTA556I/GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAMES+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922611044-07GT59O8OZVLP6UXXQX7/GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAMES+3+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609969025979-NF34BGVCVP3HXBR7DUOW/GOLDFINCH+WB+MOVIE+SCREENSHOT+4+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609922378488-VQDP2WDB3089HTLJ0TQ2/GOLDFINCH+MOVIE+POSTER.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619917080920-Q9JD936Z82YMT6A3RAQR/GOLDFINCH+FILM+SCREEN+SHOT+BEAUTY+ALTERS.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492487885048-9ZEVHN1XTDG3PR7WL2RT/2296_GREENVILLE_GILL+LAGODICH_Duveneck+WM.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492489848550-IP0Z6738EBWV9PR0T1UP/GREENVILLE+GILL+LAGODICH+DUVENECK+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1607491608265-EJTGBRUSTIWQ4K3PXZZJ/Braque+GUGGENHEIM+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642727806722-O6X0PBKISJ3HF33M7DS6/CEZANNE+LA+ROUTE+TOURNANTE+GUGGENHEIM+GILL+LAGODICH+REPLICA+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425094512260-8VIW0W7C8R8J1F6T8APW/GUGGENHEIM+GAUGUIN+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591651463909-G2FCJD0BIYKUY4AQG9GQ/KLEE+GUGGENHEIM+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1427774253148-1AA638TW34ATBIEBPIBV/GUGGENHEIM+MANET+GILL+LAGODICH+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591656040468-VGXG5TG5BR79OZCP04KR/MANET+Striped+Dress+GUGGENHEIM+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425095600506-W75CVPHJ7N4OGVU42P7T/GUGGENHEIM+MATISSE+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455170207515-UUQQKLOFGQBLZ0WH10RA/1381206_656018867765751_1028476033_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455169397558-1ILJ1EX2XAIVRE5J7JLH/263896_520896651277974_335647263_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455169025221-5Y4EV4MFXFRYUQAOKXTK/68522_555619374472368_169218769_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459471884703-693W7HXSFDS595BDJWV9/GILL+LAGODICH+HARVARD+CHARLES+BIRD+KING+ARTISTS+DREAM+9201_King+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459471826604-BVA6LSR6RBKM2XD4O4WZ/9201_detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459471651374-BL25FIK4V9I936DW7A78/IMG_2201.JPG.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1519495282403-P5GXLYKRJYVXCJL5E4PY/HIGH+MUSEUM+GILL+LAGODICH+FRAMES+VIDEO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1619745034931-C16F3QL4N4OQXZWKTAZV/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477794256634-F1ZJP2M48KIPCIIHFKJW/HMA+AVERY+Sally+with+Skull+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477794236537-D7ISJ8L0JHBSUP2YAX3I/HMA+AVERY+Sally+with+Skull+det2+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477794251218-HVQWNSGP9MB89OCKMWEG/HMA+AVERYSally+with+Skull+Label+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073844622-KFI93X5D9DRQZMTPV4YL/HMA+BIERSTADT+PIONEERS+GILL+LAGODICH+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073748400-U83WTR3BSKEZIXLBDXIB/HMA+BIERSTADT+PIONEERS+GILL+LAGODICH+det+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073672207-6X0H86K3UBG0372QPWJE/HMA+BIERSTADT+PIONEERS+GILL+LAGODICH+sig+det+3+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073592099-SSFTZI68BW8M5T7Q8X4E/HMA+BIERSTADT+PIONEERS+label+1+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073586061-ZS6KLV1FVGPCXH8R1GEO/HMA+BIERSTADT+PIONEERS+long+label+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1560880935709-TXC9VFI9CZCFQ85A83B9/HIGH+CHASE+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1560880965235-H0P6VPHUQ5CJ6Q1EJPHY/IMG_8286.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1560880999878-PJLSS6HE20O2Q64ALZT7/IMG_8290.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661218675593-BH00J3T1NR77YHYYOGPD/HMA+DURAND+GILL+LAGODICH+REPLICA+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661218686421-7YQ30CC4MT0TDLDDWDOA/HMA+DURAND+GILL+LAGODICH+REPLICA+FRAME+corner+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661218686528-FHDVL5WF2H67COAY07NN/HMA+DURAND+GILL+LAGODICH+REPLICA+FRAME+corner+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661218694823-W4A25NAZS1FA2SUOGNLG/HMA+DURAND+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642397630549-PIUFX7QJBA2QG27R096J/HMA+GUY+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642397648162-T3Q89ZXBGJML6V09GIBF/HMA+GUY+DINNERBELL+in+situ+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642397756558-LCFQ37D1RNY88IBL0JUW/HMA+GUY+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661271884933-UFY8PXAYHK0ASPC7HBIJ/HMA+HALLOWELL+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661271884764-ICGZVQZBOHAFDAD3D3MB/HMA+HALLOWELL+GILL+LAGODICH+FRAME+corner+detail+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661271886088-O8GFVV03CBFVGXK3NMHV/HMA+HALLOWELL+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168308359-0TTQXENK77ZMDE9APS9T/HMA+HARNETT+GILL+LAGODICH+FRAME.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168217573-U5L63WSQK6251BKD6KDX/HMA+HARNETT+GILL+LAGODICH+FRAME+det+1.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168224267-AACQWDZCOL7VCDGHLT1H/HMA+HARNETT+GILL+LAGODICH+FRAME+det+3.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168217615-1LAHSGN4X61FOZXTLOQY/HMA+HARNETT+GILL+LAGODICH+FRAME+det+2.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168303896-G2YS0UM357EY2XOGQK21/HMA+HARNETT+GILL+LAGODICH+FRAME+label.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168298078-JI62J1KICWZZQPCYLWE0/HMA+HARNETT+GILL+LAGODICH+FRAME+label+2.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660168301195-NCQ9ZMQ7HU4THZ5ABE95/HMA+HARNETT+GILL+LAGODICH+FRAME+in+situ.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504043221171-GWNCDUSPS80ROIZW5FXF/HIGH+Frederick+Childe+Hassam+Isle+of+Shoals%2C+1902%2C+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634431024607-P2FFMJRPD25QXRPIFTNP/IMG_0889.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634430998135-2M53BM1VQO171GL0NNLG/IMG_0819.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648435312847-9MHEP405C578U6OEU8D4/HMA+KENSETT+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648435256662-H1IUNANN3YBLOJLUGP0U/HMA+KENSETT+label+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648435256403-OU8FDU5MMTH3MWPYOM83/HMA+KENSETT+label+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648435204683-M6ARX0VJHOGCIASGMKNP/HMA+KENSETT+GILL+LAGODICH+FRAME+%28simulation%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648435232647-HJTXR8IPNTJZBOQDIZZZ/HMA+KENSETT+SONNTAG+GILL+LAGODICH+FRAMES+in+situ+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1508993575293-FWAGX6MPSJDFYPUAA9CH/HIGH+SLOAN+QUAKER+NELL+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1508993604677-HC03F23MTKT8NA4U21Z7/HIGH+SLOAN+QUAKER+NELL+detail+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1508993625435-Z6MIK7QPYJFPBD0LG2RV/HIGH+SLOAN+label+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637449004336-EPQBU8QE3W13WU262W9O/HENRY+OSSAWA+TANNER+VIEW+OF+FEZ+HIGH+MSUEUM+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637449005343-GJ1OU1VU1PR8QA4HE3YE/TANNER+VIEW+OF+FEZ+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447470799-2KYZUE8JTD6D6QSPGVJ2/HENRY+OSSAWA+TANNER+SODOM+GOMORRAH+HIGH+MUSEUM+GILL+LAGODICH.jpg.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447454195-WTUILB3NFV8ZX9MBQ2GC/HENRY+OSSAWA+TANNER+SODOM+GOMORRAH+HIGH+MUSEUM+DETAIL+GILL+LAGODICH+4.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447466748-MNS33F0YKKSLBK0TO9F3/HENRY+OSSAWA+TANNER+SODOM+GOMORRAH+HIGH+MUSEUM+GILL+LAGODICH+DETAIL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447455044-I5R9X44WCHEJ2XYIWTIN/HENRY+OSSAWA+TANNER+SODOM+GOMORRAH+DETAIL+2+HIGH+MUSEUM+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447473446-6GQHKM8G5CJXNPMKP65E/TANNER+HIGH+MUSEUM+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637447981575-VBQ9XMV5K9K34VTAMAKL/HENRY+OSSAWA+TANNER+SODOM+GOMORRAH+in+situ+HIGH+MUSEUM+GILL+LAGODICH.jpg.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637449003245-5H36GCS9ZB37NQAG2AUA/HENRY+OSSAWA+TANNER+HIGH+MUSEUM+INTRO+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073917418-DKO4S6PSR6Z8GCGCMJYU/HMA+BIERSTADT+HEADE+SALON+WALL+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610073862179-TNO10UX4PERKYFAEMM2G/HMA+BIERSTADT+HEADE+SALON+WALL+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1648432634468-FCN4AKUIQBYZYK95UHKC/HMA+KENSETT+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1592416363211-6A4XSQYZ1OCCA26PJHZH/REPL-1943_STANFORD+WHITE_INDIANAPOLIS_MILLER_GIVERNY_GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642994573826-DUEBSAXEE7SGRCDJJ977/MCNAY+VLAMINCK+in+situ+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642994580721-ICJXW5LFOIHQSEQZU6UQ/MCNAY+VLAMINCK+label+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642992021909-QMV11FQONIWMO18BT384/MCNAY+MANET+LISERONS+GILL+LAGODICH+replica+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428545104118-8EQ50HIJMO5Q6ISNZ0IE/MEAD+8007_Hassam+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428539717505-WVYS4B4T4153VASZN1NP/MEAD+8113-VAR_Homer.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428544108509-WPXEA9NEVCPMDJW91N97/MEAD+8180_Rubens.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428544612802-REVIG67E7H74UXXY7DBL/MEAD+6540_Van_Bassen+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428551283812-5JC4YCLH04EGBXF3MLFJ/MEAD+GL-5102_Cole_The_Past+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428551299362-Y2ZWRDYJCL98G7A8DHIF/MEAD+GL-5102_Cole_The_Present+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428551345865-P9Y23KK7RT3SKA67KO6F/MEAD+2011-09-26+-+Thomas+Cole+005+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428551259056-I2MJBJFCB8T1X1Z7HR63/MEAD+2011-09-26+-+Thomas+Cole+006.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428551325339-6BSMZB4QQBAH06JQZUK8/MEAD+2011-09-26+-+Thomas+Cole+003+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428545803427-HQL5LQ7LEUOCN2JR0ZXB/MEAD+Event+Flyer+-+GILL+Lagodich.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1457663972633-O3EX1N3B3XJTQZVPSJTU/MEAD+MUSEUM+GILL+LAGODICH+PRESS+RELEASE.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1443842008094-G29YOI4U5GAW8KLB4K4W/MMA+CURRY+JOHN+BROWN+WEB+WM+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526260663772-UKRQ1I8WM7YIIFJISWJ2/MMA+BENSON+CHILDREN+WOODS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526260656189-OXE6N8LF437DZ1YYF9A6/MMA+BENSON++GILL+LAGODICH+corner+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1526260648147-QRZ4VQ685KZUB40XH4M6/MMA+BENSON+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604254224076-FT3A5N95IWZH2JGE6SJX/MMA+CAILLEBOTTE+CHRYSANTHEMUMS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604254122045-3TF81OP82GGIN1MGS657/MMA+CAILLEBOTTE+CHRYSANTHEMUMS+in+situ+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604254111992-NU2PLH6087G9OMR0N3AW/MMA+CAILLEBOTTE+CHRYSANTHEMUMS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1712345366907-Y41RNZP5BVM58VFXKD5I/MET+CASSATT+DEGAS+FRAME+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1712345130658-OYQ4XTVZABXIHZ1YTF3X/MET+CASSATT+DEGAS+FRAME+in+situ+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1712345140779-BURLH3LLBS67P0PK8UHL/MET+CASSATT+LABEL+2020.363+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1712361506106-GPMULS1TGXA5HWGWGIP6/IMG_7018.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645325109165-Z978TVB8WJC0QMQ54QZU/CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645324395006-ZW467KAN378J632650RB/CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645326606960-GYGP6K9K618ORXMPTB4G/CROPSEY+RICHMOND+GILL+LAGODICH+FRAME+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645316896617-MJEFMRMGIW2SZC9YEDA1/CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+detail+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645324282771-N7IN13FC2J9ASKFVSXGB/CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+detail+4.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645317837677-TWN8G40W7FQV7EWWMMHB/CROPSEY+RICHMOND+HILL+GILL+LAGODICH+frame+in+situ+THE+MET.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645324273312-NQUNVVFI2BEX5R61RP6K/CROPSEY+RICHMOND+HILL+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425013469558-N5IQC6ZUKLL68R4ICCDM/MMA_DURRIE_web_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647808478715-DR3M7AYW81DGOQAI1HE8/MET+RYDER+in+situ+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647808493898-BJN4HB0JNG2LGLR7GW67/MARSDEN+HARTLEY+RYDER+FRAME+DETAIL+GILL+LAGODICH+wm+copy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647808500192-4FBKLJFBQPBN8SQQ6C3W/MARSDEN+HARTLEY+RYDER+BREUER+IN+SITU+GILL+LAGODICH+wm+copy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647808504357-HT17ISYBHAFKVLLWBN8D/MARSDEN+HARTLEY+HARTLEY+MET+BREUER+RYDER+LABEL+in+situ+GILL+LAGODICH+wm+copy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425006507293-LN7GTYGF2Q0EOGC9M3AS/MMA_HASSAM_VILLIERS_FULL_web_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426119641639-EU45L24GKIEPDU9XNPR3/MMA+HASSAM+PEACH+DETAIL+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459462124536-43F2SMW3ECGVJRPUS2N9/MMA+JOHNSON+EMMA+VON+NAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664683049630-VDNNPBQA9DPWTNV79QTG/MET+MATHEWS+CYPRESS+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664683057216-WBSHLBOL0ASDSB9I4F5N/MET+MATHEWS+CYPRESS+label+crop.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504233505164-Y9KOZI8MG2ON75JUHS69/MMA+PORTER+WATERMELON+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649998471716-T0E0KLL8OSTBDY5KDO0R/MET+JOHN+SLOAN+GRAY+BRASS+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649998482765-L0JZ7FHWQWPWFIU6X15H/MET+SLOAN+GRAY+BRASS+GILL+LAGODICH+FRAME+DETAIL+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649998482357-YZFMVMXT1LI6168Q93WE/MET+SLOAN+GRAY+BRASS+GILL+LAGODICH+FRAME+DETAIL+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649998485729-VJ7II31PKYE487ES40O3/MET+SLOAN+GRAY+BRASS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425009180464-LSDF9EVP3DSIY5980VS7/MMA_TARBELL_web_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643852776006-FGE1ZXNQSZ28YEQSF2WQ/MET+TISCHBEIN+GILL+LAGODICH+REPLICA+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643852785927-17R5MCTYFPY9IJ7ZBWP4/MET+TISCHBEIN+GILL+LAGODICH+replica+frame+side+view+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643852770305-74OBEI2K34ZX3P36R8FD/MET+TISCHBEIN+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441640445649-KMA4Z5LR97SOLWJ31O9M/GILL+LAGODICH+MMA+USUI+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441640446701-JFLIM6YXLLIUH7MUEPER/GILL+LAGODICH++MMA+USUI+CRNR+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398315102-ERBAZRWMVURR78CYZGB2/MMA+WEEKS+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398358099-T5WR6M42WAY46LOI3Y1S/MMA+WEEKS+GILL+LAGODICH+top+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398404228-AC1NU91JAM5LDW7R1379/MMA+WEEKS+GILL+LAGODICH+upper+corner+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398340105-8FPKU9W8NG1ZEQBM0078/MMA+WEEKS+GILL+LAGODICH+leopard+side+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398444957-8O1S4P1YGIK9S61732PU/MMA+WEEKS+GILL+LAGODICH+side+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398179874-DHMTIS940JHQK7PW82PB/MMA+WEEKS+GILL+LAGODICH+bottom+detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398448070-HQH0GP8BWRWAMAA1LPOS/MMA+WEEKS+GILL+LAGODICH+corner+detail+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398270640-WE1KRYY6GYBZYJR3JQN7/MMA+WEEKS+PEARCE+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398466271-VDGXBB0QMK94R1AG53PG/MMA+WEEKS+BLUM+PEARCE+BLUM+in+situ+IMG_3780.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1520398292145-SPCKLVWG6S9L4GJFVOCV/MMA+WEEKS+LABEL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459477364962-0W250NVXGN8Z1P5AZ8LW/GILL+LAGODICH+EASTMAN+JOHNSON+MILWAUKEE+8275-Replica_Johnson+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459477438432-JQNF4LC31Q9D63G0P35K/GILL+LAGODICH+8275-VAR-Replica_detail+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459478545233-TAYV7RZNKY1ZQZQ2ULVT/Eastman+Johnson_original_detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459479444541-IF0LFX0UI97AWISY4ECI/GILL+LAGODICH+8357-VAR_Cooke+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459479784422-ZXUVNMGYLJ17TJAGLSXE/GILL+LAGODICH+4400_Fromentin.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459479405299-DZNIQYR333LRIQX021NB/GILL+LAGODICH+8527_Schreyer+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459479286286-P1LCHIJ7EF5AF8CG40L1/LAYTON+SCHREYER+HISTORIC+PHOTO.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647806815998-J8CSVUCCE897EYKGSBJP/MILWAUKEE+MUSEUM+GILL+LAGODICH+LECTURE+2012.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467772218084-DAMBY80IB630DQYHZYZA/GILL+LAGODICH+MINT+MUSEUM+COLE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467774290115-C9ZDH4D42R0IH4AJM8JY/GILL+LAGODICH+MINT+MUSEUM+CHASE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647575912905-JNM5XNWKF7D0913IQJ83/MINT+GLACKENS+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647575909221-D2X9KYJ1JFAB8E5ZVY3V/MINT+GLACKENS+GILL+LAGODICH+FRAME+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647575913843-EEI84WYBHDBEEIYGPBA5/MINT+GLACKENS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660347204788-PFKDJDMR1F1D0UZDZFRU/MINT+HENRI+BRIEN+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660347871422-FES1K82GIH383Z8YWIV0/MINT+HENRI+BRIEN+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660347902184-IX5FWH0OJSN5N37W19OI/MINT+HENRI+BRIEN+GILL+LAGODICH+frame+detail+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660347367318-9B8WQ2908MYTU9AFQNNY/MINT+HENRI+BRIEN+GILL+LAGODICH+frame+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660347737315-2QUTKZDRHBH4XER3RJ54/MINT+HENRI+BRIEN+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604700885213-TPNANVL41U67C7JITD3D/KUEHNE+EAST+RIVER+HARBOR+MINT+MUSEUM+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604700886364-Z85V6E3YKF1ZFC6PW7G6/KUEHNE+EAST+RIVER+HARBOR+MINT+MUSEUM+GILL+LAGODICH+det+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604700902398-LS3D0QS8BG35JSE64AWJ/KUEHNE+EAST+RIVER+MINT+MUSEUM+GILL+LAGODICH+det2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1604700894575-Y3TFKI193CI2IHKQTIIF/KUEHNE+MINT+LABEL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660338737986-KPIRFOPR0P3LWJ14OX9H/MINT+LUKS+CARNIVAL+KUEHNE+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660338595353-UU6K0SELA57VOADQLPB6/MINT+LUKS+CARNIVAL+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660339350922-GEY78N7N447ZL69GKF3X/MINT+LUKS+CARNIVAL+GILL+LAGODICH+FRAME+detail+1.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660339454829-5Q0TZHVFMBUCW1SHEUJS/MINT+LUKS+CARNIVAL+GILL+LAGODICH+FRAME+detail+3.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660338976473-J8VO9KFK21C8J86J701V/MINT+LUKS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578296169622-I5DJHRUQ80WAY7M33UB7/MINT_MACDONALD-WRIGHT_TRUMPET_FLOWERS_GILL_LAGODICH_in_situ_wm+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578296155741-KO0SYY8J1W3H8TXB6Q25/MINT_MACDONALD-WRIGHT_DETAIL_in_situ_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578296155844-1LARZ0A5F88980VE6UY4/MINT_MACDONALD-WRIGHT_corner_detail_GILL_LAGODICH_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578296175239-B1RJ2V6ZLGG392Z4UJLC/MINT_WRIGHT_DAVIS_GILL_LAGODICH_in_situ_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432347919368-FAJUD20OPZSF7MQMVPGX/GILL+LAGODICH+MUNSON+WILLIAMS+HICKS+dog+with+a+view.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667250928657-XC657K5LLG6ZX36LYWWM/HICKS+CASCADE+ALHAMBRA+GILL+LAGODICH+frame+crated+prior+to+shipping.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667250928698-K6CNIX7AXX1BH5Z9L40P/HICKS+HIGH+FALLS+GILL+LAGODICH+frame+crated+prior+to+shipping.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667261026654-AEAUD9KVH40NPC892ZZ7/8125_detail+HICKS+frame+replicated+by+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667250942486-COA4EVPO32GZN9AXQMAT/HICKS+TRENTON+FALLS+ORIGINAL+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667261028004-2ESTOMR42POEIKLO22HO/7671_HICKS+frame+detail+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346749848-MU1GDATHEDVX7ZJQ6HU8/MUNSON+WILLIAMS+1.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346849908-HGO7WP8S6Z2K68C077VW/MUNSON+WILLIAMS+7.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346832878-WUHIGWNT5RE16GRENWNC/MUNSON+WILLIAMS+6.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346767239-GLX1RJ9C9KSYNSQ3YJWD/MUNSON+WILLIAMS+2.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667075619022-GXOPGU53PHULMRQDZUI5/preview.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346783759-KDAZI67GY3BYUZHLQW8Y/MUNSON+WILLIAMS+3.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346799511-SY7BATYJBB1NA1MUDC9M/MUNSON+WILLIAMS+4.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346815256-J44EVR0UYEAUIRU56PHY/MUNSON+WILLIAMS+5.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346866171-93644TTESTGW2Q5GFW2E/MUNSON+WILLIAMS+8.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432346881510-SMW8QLF4P2TWNY548SMK/MUNSON+WILLIAMS+9.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1667260271350-PMIYGSH4O9G4Y4VZN056/MWPAI+HICKS+exhibit+GILL+LAGODICH+frames+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578281760816-O117V4UAKEIINIZL8TU1/MoAR+LeGRAND+GILL+LAGODICH+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578269426582-VO61TFAUE1WP4F9CTNIZ/MoAR+LEGRAND+FITZGERALD+header+color.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486614308330-Z8MQ099WGJBQA8ZSPW0L/MoAR+LEGRAND+FRAME+GILL+LAGODICH+team+IMG_0296%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578268474077-7QCVS6G60S09D2RYD5WH/16707396_1262826857137215_9064001949125607101_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486615295884-YRUIBJ9NTXHYX62FN8RS/MOAR+LEGRAND+GILL+LAGODICH+frame+in+situ+IMG_0326+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486615098069-3U2I834JJ60OJOBNMCTH/MoAR+LEGRAND+INSTALL+GILL+LAGODICH+IMG_0339_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486615459041-TPH79VZRNEH4LNHSAXYB/MoAR+LEGRAND+install+GILL+LAGODICH+IMG_0389+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486611916504-YO0H6RM38AFCBBF1EM97/MoAR+LEGRAND+cartouche+GILL+LAGODICH+detail+IMG_2035+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486614223453-E3UXT0AGIRHPQDOEJHY2/MoAR+LEGRAND+FRAME+GILL+LAGODICH+detail+IMG_2041_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486612748158-MI0L5WS1JRD054PD2B32/MoAR+LEGRAND+CARTOUCHE+GILL+LAGODICH+IMG_9211_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578268490836-TQ4E09NZ6BER37KKB62T/16587126_1262826713803896_8240821698698993731_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578277884480-G630GPE9GKFMNRH3S44J/photo+credit+Gill+%26+Lagodich+-+MoAR+LEGRAND+LOWER+CARTOUCHE+GILL+LAGODICH+detail+IMG_1428+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578268497133-AGLDWEBT7LMN89LJKT4B/16586971_1262826830470551_7465574343627531458_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613895610-BQBP76122NST6JAM17X4/MoAR+LEGRAND+FRAME+GILL+LAGODICH+work+detail+IMG_1332_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578268503291-ZE7GKQ4XE28FO41G2OSF/16602414_1262826883803879_5977454973039038019_o.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613611520-CRIWD50OHXIF0DIP5560/MoAR+LEGRAND+CHELSEA+IMG_0939_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613619056-HHVRQL36AKAU9NDNMA42/MoAR+LEGRAND+CHELSEA+IMG_0175_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613599457-50B714PJTFOG6187D942/MoAR+LEGRAND+CHELSEA+IMG_1108_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613574869-SOE9T1NMYE9U5NO7A14O/MoAR+LEGRAND+CHELSEA+IMG_0938_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650418078558-SS3JGKUMN7MHIGXWOJ40/MoAR+LEGRAND+YORKTOWN+GILL+LAGODICH+FRAME.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578279818479-6LZR6XQYQ9H3BORKFACL/MOAR+LEGRAND+LABEL+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578270716666-H92OI8TRHLH75FLCHIJX/GILL+LAGODICH+LEGRAND+FRAME+MOAR.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486614875692-1RT273EWDEE0YH2M1JT1/MoAR+LEGRAND+GILL+LAGODICH+FRAME_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650418796381-9KP0I2II1P4MX93BF3JL/MoAR+FITZGERALD+WASHINGTON+CROSSING+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486612756304-EN6RF5YHRAKCX32AF1TT/MoAR+FITZGERALD+WASHINGTON+GILL+LAGODICH+FRAME+in+situ+IMG_9273+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486612376251-815UYE5P9ADLKZUTBA3J/MoAR+FITZGERALD+FORAGING+GILL+LAGODICH+FRAME+detail+IMG_9272+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650419450454-5HSPOG3U30116EDFFPA9/MoAR+FITZGERALD+FORAGING+PARTY+GILL+LAGODICH+FRAME.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613217746-F77SRY8J73H2N2L06207/MoAR+FITZGERALD+FORAGING+GILL+LAGODICH+IMG_9264+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1486613206458-MSYJ13LMTJGF7G52U3JZ/MoAR+FITZGERALD+WASHINGTON+GILL+LAGODICH+frame+detail+IMG_9274_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578280793306-R16G7LDGYO2O6MA9TKU6/MoAR+FITZGERALD+VALLEY+FORGE+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578271223270-GZX8MQT5VNRIXDI0NEGQ/MOAR%2BBATTLE%2BOF%2BYORKTOWN%2BTOUSSAINT%2BPHOTOGRAPHY2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578281094308-7TLRW32PUIMVMA8LFAMZ/MOAR+LOBBY+FOUNDING+CAMPAIGN+signage.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578282869294-OSJAAN96T790HADSO1S9/MOAR+Gill+Lagodich+lobby+signage.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578269571853-PGHP7U6KUCYT6FZNPTDY/MoAR+LEGRAND+FITZGERALD+header+color.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578279837433-8BJRS7JNEDPOIXI8NBRI/IMG_3938.png", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643005122456-M47OWY5Z9Q9XDD1DFXIA/MCNY+WILLIAM+S+MOUNT+LAVINIA+BROOKS+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643006473392-T18EHD6I9GNKVDGYU2J2/MCNY+MOUNT+LAVINIA+BROOKS+FRAME+DETAIL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643005989303-VM01PQ8L5QQMX1UOWBA6/MCNY+MOUNT+MARY+BROOKS+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643006900742-WUXKUZQLF6NATLWH0BWT/MCNY+WILLIAM+SIDNEY+MOUNT+BROOKS+BROTHERS+CHILDREN+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643006907246-2ZRI7ZDK6IUCJC5MRYD2/MCNY+MOUNT+BROOKS+CHILDREN+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477798858364-TEFV4FEX7MOSXMMK4SEI/MFA+BOSTON+GILBERT+STUART+JOSIAH+QUINCY+GILL+LALGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491103133208-JV1YYGYXKV291JVC8W9J/MFAH_DRIGGS_GILL+_LAGODICH_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491105224197-J1I3WGV24079OGTWA2JK/MFAH+CRAWFORD+1242-REPL+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426700283318-O6RDCFXH325CN2L4DIDZ/MFAH+HICKS+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491104308081-BWEKMZRSLCLWPU6YDXZ2/MFAH+PRENDERGAST+REPL-1576+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423519366576-3100FJXEG6WKJ1ND4Q3T/NAMA+WEST+MARRIAGE+wm.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423579431801-U32YP20BWR4UX07YXJ47/NAMA+BELLOWS+FRANKIE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423585357041-HGZ7SWAYO0OPYBRR5TL8/NAMA+BELLOWS+TESUQUE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423550605829-5441L32ODS8MEWOXN4NT/NAMA+BINGHAM+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423585122673-3AUXG1O8833D8PM8KOQZ/NAMA+BRICHER+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423629751619-HH2IHHQ9AZCH5DNSZCB0/NAMA+COLE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423584267367-0TOA0V2QQG6E30TH31IL/NAMA+CROPSEY+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423586250396-UST2G6GXBLROHJSQM3XC/NAMA+DURAND.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423624717203-QK76FG9GHBCL1A5TSH5T/NAMA+EDMONDS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423586222239-J5ZEGVQVC8QZ8MIMDARA/NAMA+FULLER+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423626607626-12AS99KAT94GRAS514TW/NAMA+HASSAM+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423627211480-33QGIWDLV62RYER25H2A/NAMA+HEADE+SUNSET+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423627211366-QJDHSVDBN64IH25XIJSK/NAMA+HEADE+SALTMARSHES+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660348670244-3BLXY6X8EHLX7ALS1818/NAMA+HENRI+MEXICAN+GIRL+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423546828450-84ASLVHV404JZ122QNR9/NAMA+HOMER+wm.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423625166181-AAPL72TRUJQOI5DQGLJN/NAMA+INNESS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423582079247-GYSLB8H0I2OP95WG28W2/NAMA+MARSH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647804276730-TK3HLGQ82W7O20MB9WAC/NAMA_MARSH_PAVONIA_GILL_LAGODICH+FRAME+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423547861172-3DMRPQG1QGUHVDOI9YDY/NAMA+OTTER+restored+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423625359415-D3ICPKAO86KQVX0XIDJZ/NAMA+PEALE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423548523940-PFCU2I1PSBH0QJ30TYR1/NAMA+TANNER+wm.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423626622109-S7BX71T8VVFLXUI0PFJU/NAMA+SARGENT+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423586202944-2PSKCDXNUTQFTXDMVEX1/NAMA+WARD+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423548779522-3MEG9WM2J9JKISE4LA5E/NAMA+WEST+CUSTANCE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423630460880-IJJ2CQDU03ZEEX2ANAUB/NAMA+WEST+SONS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423629452303-EPHPXHQJUBBA8D4BX7TX/NAMA+WILKIN+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423550057054-CEY129NDF676B8MN9UUJ/NAMA+WYETH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565637159921-FPRABAOGAJ97JRQQDRT3/NCMA+WEIR+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565637175694-XBFUI6XOX6B4SUY3HTC9/NCMA+WEIR+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565637166319-8W2DJ8YFYGA7VW6JZN4P/NCMA+WEIR+GILL+LAGODICH++side+view+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565637172999-ZXK4FB94A7PRRNDDKBSJ/NCMA+WEIR+GILL+LAGODICH+in+situ+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565639148312-FD7CAJJIAJZ36A6E17A0/NCMA+LEUTZE+The+Attainder+of+Stafford+2017_12+in+frame+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565639190830-0XHSKP947Q9L72JVOAN9/NCMA+LEUTZE+GILL+LAGODICH+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451707681-IFQ0DU288ZW0WLJDH8AL/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+frame+in+situ+web.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451541472-GITRHJ4O3ITVB68912YK/MET+HOMER+FOX+HUNT+label.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451577412-2NEUB20UF2MPBKF017Y2/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+FRAME+detail+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451782036-V4RXS362CSLA9KPJ5FUY/PAFA+HOMER+FOX+HUNT+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451604306-06V2VZC691AEY418ZXBU/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+FRAME+in+situ+exhibit.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451649919-J3IAZHUXWP7PATKM2MC8/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+FRAME+in+situ+opening+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451764988-RIAHUBSEAMZH2LTUMKBD/PAFA+HOMER+FOXHUNT+insta+post.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424555304888-WGAQVDDL16A9IVZ2U4VH/PMA+CHURCH+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424553551992-CQ0Z07Y0ZVVGH0800KNU/PMA+INNESS+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634433941147-WEW3Y9NSCOIP61V8S6TF/HASSAM+WASHINGTON+ARCH+PHILLIPS+COLL+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634436616572-NZUO5SG9RW3IRI2A5GGZ/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609999386630-SVRLQ04M748UA6HBL5J3/RITMAN+FLOWER+GARDEN+PHOENIX+MUSEUM+twitter.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1452224327541-O67RN4LYA4HC5CH6YWN0/phx-art-museum-2-02.png", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1452224343733-LATQIDRVS7HZ6OHPSYB8/images-1.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459466352144-H294UR1KNWIAWO1TE5Y7/FlowerGardenRittman.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459466706429-IVYW3GGJWS7MFM6W0FLZ/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578286619640-0I18X8F5K5DJDUCJ4092/SLAM+CHASE+10TH+STREET+STUDIO+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578287828876-OQWZOLJKVB086H7NEMA5/SLAM+EAKINS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637444138646-7E5YRGMXE8HHEBQYASK1/HENRY+OSSAWA+TANNER+GATEWAY+TANGIER+ST+LOUIS+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646603600459-KG01T386A6C9K1UP28MN/SLAM+ST+GAUDENS+Amor+Caritas+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646603600540-M7E3CA1OIMY73IRFMSQH/SLAM+ST+GAUDENS+GILL+LAGODICH+FRAME+detail.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637444145993-VJX6ALDXXC9XK41PT1II/TANNER+GATEWAY+TANGIER+ST+LOUIS+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637444147381-VUD6KF10HP6EN4LVYV70/TANNER+GATEWAY+TANGIERS+ST+LOUIS+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1637444145950-9H8YIZBUF5SDXGXOH385/TANNER+GATEWAY+TANGIERS+LABEL+ST+LOUIS+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278879038-JGI6ZZWMJ158GBL9DYNY/Avery%2C+Two+Figures+on+Beach+%28overall%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278879424-7VZLV5OHX671ZXYFF4QO/Avery%2C+Two+Figures+on+Beach+%28Lot+card%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278862026-01HGEZGXOCA8A34H80TN/Avery%2C+Two+Figures+on+Beach+%28corner+detail+1%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278861968-IO7NLS9LG1UTGF1KLF0P/Avery%2C+Two+Figures+on+Beach+%28corner+detail+2%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660177879964-SW2RSJQYLKK7648ITXLH/SOTHEBYS+HARNETT+GILL+LAGODICH+FRAME+in+situ+full.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660177925796-QR82R21W31Z966ZAM0ZO/SOTHEBYS+HARNETT+GILL+LAGODICH+FRAME+detail+8.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660177969476-NBF7LM2QVBYHS9Y9LFTO/SOTHEBYS+HARNETT+GILL+LAGODICH+FRAME+detail+5.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660177903069-9BPHCGTVR7XEP88SOJNM/SOTHEBYS+HARNETT+LABELS.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1660177869594-IER3YHHOBVCZBE1T0Z7Z/SOTHEBYS+HARNETT+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1495064585902-IPA1HGWG6YQ7Z5BXVS1K/SOTHEBYS_HARTLEY_CHURCH_KUNIYOSHI_FRAME_GILL_LAGODICH_in+situ_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1495064590692-O025IMTXVBSDXAJWYK5J/SOTHEBYS_HARTLEY_CHURCH_KUNIYOSHI_FRAME_GILL_LAGODICH_auction_labels_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1495064591272-8OKREFPVCBMNKI4ANW7G/9022_GILL+LAGODICH+KUNIYOSHI+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527737462117-G7HPK87WXZAT6YF8J3BX/AVERY+GILL+LAGODICH+MARCH+SALLY+SOTHEBYS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527737449373-5IAL5MR86ZXAH6GCLZ2K/AVERY+GILL+LAGODICH+MARCH+SALLY+SOTHEBYS+DETAIL+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527737448966-OMZ8JHAFHRBD0MS36C7P/AVERY+GILL+LAGODICH+MARCH+SALLY+SOTHEBYS+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527737463546-0WLDYEW0B2BMTGRCWSVK/AVERY+MARCH+%26+SALLY+LABEL+SOTHEBYS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527738678359-3C4LVO9HJRQ9XHPF2NFN/AVERY+GILL+LAGODICH+DANCING+TREES+SOTHEBYS+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527738702778-H36O37TD40VUJWAK9YBQ/AVERY+DANCING+TREES+LABEL+SOTHEBYS+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527738714296-TYIUVLN94FAV296X5IKM/AVERY+GILL+LAGODICH+DANCING+TREES+SOTHEBYS+DETAIL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610518457430-7P1H1EOM27JPKM9F8JJK/SARGENT+POPPIES+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610518468997-Q2QG0EQ8J75FXZ2U3MY8/SARGENT+POPPIES+GILL+LAGODICH+FRAME+DET+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610518467578-ZXB9ZG932CNI7BKK4DXU/SARGENT+POPPIES+GILL+LAGODICH+FRAME+DET+2+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1610518467481-70LXRV9M1J2ZOE3SJUZI/SARGENT+POPPIES+GILL+LAGODICH+FRAME+DET+3+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426044531444-DBD7PCWXG1YAED2D7N32/8668+TERRA+BINGHAM.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643152125531-D18JXSAV9GAL9T4MWQ12/TERRA+DELANEY+GILL+LAGODICH+replica+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424050133123-G7WEC5MAY1YBQWPM3X09/GL-7238-REPL_TERRA_Dewing+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1504755544605-L47J5NW81EKWSBZB81Z5/TERRA+HASSAM+PEASANT+GIRL+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424227705681-SXUVLM2EGB375RBAA5UT/TERRA+AIC+Homer+Whittling+Boy.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455166863869-MK74SFI9C0CR91NMDMXI/999329_597125576988414_497703506_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455843509335-9HV46ILZZX6X92MC75LI/TERRA+SHINN+GILL+LAGODICH+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455167961353-TAII47EHHSSVI8413BVS/Spencer_HomeOfRedWhiteBlue_Recent.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195679214-XAILJ7I6YQTJNS76K68W/TERRA+SPENCER+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195707278-DLM99JNT3S3R3EGFAHEW/LILY+MARTIN+SPENCER+det+5.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195708796-LBV5ZI20D4UU8VQYUIYP/LILY+MARTIN+SPENCER+det+6.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195701625-38W7LG8BL5CHFP1DCGGP/LILY+MARTIN+SPENCER+det+4.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195694152-96FFEOS1O8XM85U983Y8/LILY+MARTIN+SPENCER+det+1.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195693745-26RO10C8HX6Y58Y14FWT/LILY+MARTIN+SPENCER+det+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195700104-PJCVSXP7SEDQQP48VLRW/LILY+MARTIN+SPENCER+det+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1611195712070-UTXL2C3D1CHBO0D8MIGF/LILY+MARTIN+SPENCER+det+7.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1425438331403-LRKZTHCWJVPM9F9PIHPR/GL-8121-VAR+TERRA+TOOKER+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986879647-73A8D41C80PJ054A5P2J/IMG_9882.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986857629-BJFVCWEOM1CM4B9O0RAG/IMG_9819.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986848703-K2HPROL4OGP5JYZM1AWF/IMG_9815.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986865958-R2N74YMW6EJZ6ZJOISN7/IMG_9890.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986838881-U2GAP1N2FX9Y79DF4698/IMG_9822.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986857746-JNPZSMTMAHG29M6QHKBK/IMG_9814.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986839172-L4N42CTC9WE70GBOMMEY/IMG_9821.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986865902-1AA8ZT0UDX6HSMZXYI2S/IMG_9893.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487987875967-AJZC36877ZTGYAHHDATA/IMG_9863.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424490073352-1DKCC6Z8X9TC4W2955TA/VMFA+CRAWFORD+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499796571123-UTDBX5TWVN0PIZS68XMC/VMFA+GILL+LAGODICH+BOUDIN+DEAUVILLE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424492799587-K7O5P0A7OVFMQYYU2HIE/VMFA+CHASE+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448677549015-NBTN5NLS1V8TRPPMP7FQ/%28c%29VMFA_61-15_v1DS201406.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1448677545642-06YVRJ9SF7ZP2NH7NGPM/%28c%29VMFA_61-15_d2DS201406.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645153853670-NL127RF98JWQ8OD7FWDW/VMFA%2BGILL%2BLAGODICH%2BDUFY%2BBOUQUET%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641865094176-67LZBWL5YF1PZ57Q77AC/VMFA+DUVNECK+GYPSY+BOY+GILL+LAGODICH.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424550193142-1XNRCTIFZBRAR3ZZ8LHU/VMFA+EATON+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424491940424-D0I0WBW0N5NWB54P5M2E/VMFA+DELANEY+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424494051411-GZW0AP5W94ZZKZ5RCM1N/VMFA+EVERGOOD+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650512033456-AKBKYRFWE32NXH3JAGJS/VMFA+FRIESEKE+GILL+LAGODICH+FOSTER+BROS+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650512051755-0C265WK5GTTNDWNQ8W4W/VMFA+FRIESEKE+GILL+LAGODICH+FRAME+in+situ+upper+right+corner.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650512052717-7F1RHHRI4JXKHL91Q1TY/VMFA+FRIESEKE+GILL+LAGODICH+frame+in+situ+lower+left+corner.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650512019119-O69S2U6N1KEEW1D7QL04/VMFA+FRIESEKE+FOSTER+BROS+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424551421029-6V4LHUSUWYF1XZ9IRHC1/VMFA+MACDONALD+WRIGHT+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664685719185-NR99K2CSCUKVIS1182QE/VMFA+MACMONNIES+GILL+LAGODICH+frame+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664686565434-3QAPCW4QF9LLN06TYO2D/VMFA+MACMONNIES+GILL+LAGODICH+frame+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664686574961-3WK0Y6DUZALFG8YQ1E2P/VMFA+MACMONNIES+GILL+LAGODICH+frame+detail+3.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1664685157600-SCWK4TN1SJONOHJ9TL76/VMFA+MACMONNIES+PEARCE+GILL+LAGODICH+FRAMES+in+situ+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424488950043-AHE0ZFDGW5L48QUHRQCK/VMFA+PEARCE+PEINES+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645153600843-WX01TU1OAH2KQUG33U4F/%28c%29VMFA_2014-208_v2DS201501%2BGILL%2BLAGODICH%2BPISSARRO%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645153734985-QRGAS1MQM8HG52YQW40N/%28c%29VMFA_2014-208_d2DS201501%2BGILL%2BLAGODICH%2BPISSARRO%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491100173763-SEBEKHJ47UAKHRIOVWG9/VMFA+PORTER+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424545639036-B0M3SKEV00GWIWVE9PN5/VMFA+REINAGLE+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424551886006-ERW01E1I6INOJVL0UXQD/VMFA+SISLEY+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645241666867-J85VTXT2B8KZL5BYGETX/VMFA+TIFFANY+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645241679120-UISCKKVAOVSPJVRWU6GK/VMFA+TIFFANY+GILL+LAGODICH+corner+detail+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1645241687400-7QE5451Y9H6A6XZ2BG5W/VMFA+TIFFANY+GILL+LAGODICH+in+situ+detail+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1605934422763-DRQ0A9AZZPHHODTU2NMU/VMFA%2BGILL%2BLAGODICH%2BVAN%2BGOGH%2BDAISIES%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1527890136448-FY3ZPCEIS5CY6FA1IHX0/van-gogh-vmfa.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774464222-6LMN02V33U5KTDA6F6OZ/VMFA+LE+BRUN+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774873492-4ANYMG6YRPUE2VB4VVZK/VMFA+LE+BRUN+corner+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774478753-ZVMUKJEHLHA45JW2WM1K/VMFA+LE+BRUN+detail+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774496015-8XGST43CTH7KZ5C94V8O/VMFA+LE+BRUN+label+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774568453-PYHCRACA4WBW1OIPT2UZ/VMFA+LE+BRUN+Salon+Wall+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1616774581697-9RSXA70R1G6UWJFDD6YR/VMFA+LE+BRUN+SALON+WALL+label+in+situ+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1641867875490-GFXOKO5Q3O5YU0DWWLM4/270031259_10159732711583638_1202308817090310589_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455842636183-ZYY74LOV0RRYXVB7NFC4/1010906_591059967594975_1478526931_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1458006838780-P8ZWUOC6A6YL4DF1LU3D/7231_GILL+LAGODICH+WINTERTHUR+Trumbull.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1458009380503-LUK9WW4R35USJ76DSXT5/GILL+LAGODICH+WINTERTHUR+TRUMBULL+WASHINGTON+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644375746523-NSCUQHCEJ5NOAIGXFOHD/WAM+MODERSOHN-BECKER+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644376743538-BAZN6YMNRZNPPIHZXJQS/WAM+MODERSOHN-BECKER+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644377283516-BAOEKIQW9KEVVORK8988/WAM+PAULA+MODERSOHN-BECKER+in+gallery+2+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644377397774-B6DA87TV5MCC6V7PFPPZ/WAM+MODERSOHN-BECKER+LABEL.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644380152165-S575N5P1667WB3JT7STK/WAM+MUNTER+GILL+LAGODICH+FRAME+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644380206620-JQPTKS9O2G76CHXU90U0/WAM+MUNTER+GILL+LAGODICH+FRAME+in+situ.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644380238149-FQHU0WQE87AZ6F58NJL5/WAM+MUNTER+GILL+LAGODICH+FRAME+in+gallery.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1496199499688-C52EJ1UX1T2FVVFS1O3L/MARSDEN+HARTLEY+MET+BREUER+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423591151287-79B5GLW9G5LI9Z7XQMXP/peter+barbara+bierstadt.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1499799352978-KWHNP22EWE6UG2VTKJ3A/%28c%29VMFA_E201502_0046+GILL+LAGODICH+GALLERY+VIEW+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1649990137645-O3ZVR30LEXPX7RT5K6PY/ART+BRIDGES+DIEGO+RIVERA+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1661114332666-AQDNUJ5CMSP4LR510JCI/DSCN0365.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578198728119-FIDO399JGCM99CFABYMI/GL-9473_Amon_Carter_George_Bellows_GILL+LAGODICH_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1467647671049-T0ADB7HKMYND6F1XVLTQ/LAGODICH+BARCLAY+HOTEL+CLOSE+UP.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1441772791978-4UF59IFX15JU48URFD7A/GILL+LAGODICH+BMA+DE+COST+SMITH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1591757227397-1H2EWTICSNRWF501OESE/BRUNIAS+BROOKLYN+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455687679807-NAN5V8TRBS17SWD1X6A7/GILL+LAGODICH+CHRYSLER+HALE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609912808093-M077A1QKL6HMES10CDJ9/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1650165362146-QQHJP5P6TDXL6CLDFSYM/CLARK+Homer_GILL+LAGODICH+FRAME_8726-REPLICA_Lemon.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455856457461-HRL3HE7L6FMSX420C0FU/IMG_7915.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1426648358601-55CLCM4WG13NBV42U7OR/CB+BENSON+SUMMERS+DAY.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642002945912-R8U9BQEAS8XBKD4NAZS6/SARGENT+ALPS+CUMMER+MUSEUM+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1490729206581-CBNA1C6WADL8MPUP9SE7/STUART_DAVIS_DALLAS_GILL_LAGODICH_RDS-440-REPL_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1497407508448-KJ8Q7YILNHZGIXCMTG9S/DAM%2BGOLLINGS%2BGILL%2BLAGODICH%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1559518619910-FBSQQ6EVMRS0WP4IXQJP/8845-VAR-REPLICA_Charmy_GILL+LAGODICH+MONTAGE+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1646193299571-LF46YHK06A942T213AA0/GETTY+SOROLLA+x+3+GILL+LAGODICH+FRAMES+in+studio+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609919195632-Y00H63IY4O0B4YGA9AOJ/FABRITIUS+GOLDFINCH+WB+MOVIE+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1492487885048-9ZEVHN1XTDG3PR7WL2RT/2296_GREENVILLE_GILL+LAGODICH_Duveneck+WM.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424142239868-B4KNYX2AX0FK92NL6LVJ/1488065_853558294678473_3624936609731866703_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459471884703-693W7HXSFDS595BDJWV9/GILL+LAGODICH+HARVARD+CHARLES+BIRD+KING+ARTISTS+DREAM+9201_King+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1519495282403-P5GXLYKRJYVXCJL5E4PY/HIGH+MUSEUM+GILL+LAGODICH+FRAMES+VIDEO+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1592416363211-6A4XSQYZ1OCCA26PJHZH/REPL-1943_STANFORD+WHITE_INDIANAPOLIS_MILLER_GIVERNY_GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1642994573826-DUEBSAXEE7SGRCDJJ977/MCNAY+VLAMINCK+in+situ+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1428542816962-PF9BOWI7OF5TK32UFY4M/MEAD+2011-09-26+-+Thomas+Cole+002.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1443842008094-G29YOI4U5GAW8KLB4K4W/MMA+CURRY+JOHN+BROWN+WEB+WM+2.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1459475242475-4NBPCC9PLV18K9QWSSS8/GILL+LAGODICH+MILWAUKEE+EASTMAN+JOHNSON+OLD+STACGECOACH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1647576235995-A7FRY50VDFMZP4GTEUAM/GILL%2BLAGODICH%2BMINT%2BMUSEUM%2BHENRI%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1432347919368-FAJUD20OPZSF7MQMVPGX/GILL+LAGODICH+MUNSON+WILLIAMS+HICKS+dog+with+a+view.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578281760816-O117V4UAKEIINIZL8TU1/MoAR+LeGRAND+GILL+LAGODICH+.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1643005122456-M47OWY5Z9Q9XDD1DFXIA/MCNY+WILLIAM+S+MOUNT+LAVINIA+BROOKS+GILL+LAGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1477798858364-TEFV4FEX7MOSXMMK4SEI/MFA+BOSTON+GILBERT+STUART+JOSIAH+QUINCY+GILL+LALGODICH+FRAME.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1491103133208-JV1YYGYXKV291JVC8W9J/MFAH_DRIGGS_GILL+_LAGODICH_wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1423519366576-3100FJXEG6WKJ1ND4Q3T/NAMA+WEST+MARRIAGE+wm.JPG", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1565636631662-KL53RASIS1J2RF3X04BW/NCMA+American+Gallery+with+Weir+-+GILL+LAGODICH+frame.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1677451707681-IFQ0DU288ZW0WLJDH8AL/PAFA+HOMER+FOX+HUNT+GILL+LAGODICH+frame+in+situ+web.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424555304888-WGAQVDDL16A9IVZ2U4VH/PMA+CHURCH+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1634433941147-WEW3Y9NSCOIP61V8S6TF/HASSAM+WASHINGTON+ARCH+PHILLIPS+COLL+GILL+LAGODICH+FRAME+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1609999386630-SVRLQ04M748UA6HBL5J3/RITMAN+FLOWER+GARDEN+PHOENIX+MUSEUM+twitter.jpeg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1578286619640-0I18X8F5K5DJDUCJ4092/SLAM+CHASE+10TH+STREET+STUDIO+GILL+LAGODICH+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1551278879038-JGI6ZZWMJ158GBL9DYNY/Avery%2C+Two+Figures+on+Beach+%28overall%29.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455844899855-DXQ1GPK7QM3CJGFASWXC/GL-7238-REPL_TERRA_Dewing%2Bweb%2Bwm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1487986879647-73A8D41C80PJ054A5P2J/IMG_9882.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1424490073352-1DKCC6Z8X9TC4W2955TA/VMFA+CRAWFORD+web+wm.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1455842636183-ZYY74LOV0RRYXVB7NFC4/1010906_591059967594975_1478526931_n.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1458007183829-ZA3Q2NMN1OLFY73BRICR/7231_GILL+LAGODICH+WINTERTHUR+Trumbull.jpg", "https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1644375746523-NSCUQHCEJ5NOAIGXFOHD/WAM+MODERSOHN-BECKER+GILL+LAGODICH+FRAME.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/532de1c5e4b079860b069d84/1395541956140-QIENO7YKZYY6Y8HY3WW3/favicon.ico?format=100w	Gill & Lagodich Gallery	http://www.gill-lagodich.com/past-projects	Norman Rockwell Visits A Country Editor, 1946, oil on canvas, 33 x 63 in. Framed by Gill & Lagodich for Christie’s, custom-made replica Early 20th-century American Arts & Crafts frame. Original Maxfield Parrish frame design, c1909 from Jack-the-Giant-Killer. Milled and polychromed wood. Molding width: 5 in. AUCTION 18 NOV 2015 Price realised USD 11, 589,000. “Norman Rockwell painted Norman Rockwell Visits a Country Editor for the May 25th, 1946 issue of The Saturday Evening Post. By 1946, not only had Rockwell’s myriad covers of The Post captured the imagination of the nation, but the artist was becoming a celebrity in his own right. Perhaps just as importantly, Rockwell’s work adopted a new sense of earnestness in order to more accurately reflect the realities that many faced in post-War America. While Rockwell’s classic sense of idealism remained intact, his imaginative images confronting issues of the present allowed the public to identify with his interpretation of life in America. Christopher Finch writes, “The period from the mid-forties until the late-fifties was perhaps Rockwell’s time of greatest achievement.” (Norman Rockwell’s America, New York, 1975, p. 31) Conceived during this important era of his storied career, Norman Rockwell Visits a Country Editor is a nostalgic tableau of a small country town and its local newspaper, which captures the spirit of America adapting to life after World War II. American illustration holds a special place within the context of American art. Before television entered the American home, newspapers and magazines were the primary news sources for the nation. They were also the barometer of public opinion, and naturally, the artists who illustrated these periodicals had a great deal of influence on the perception of their nation. Norman Rockwell did more than simply fulfill his commissions; rather, he understood his advantageous position and put his best efforts into his work. He stated, "No man with a conscience can just bat out illustrations. He's got to put all of his talent, all of his feeling into them. If illustration is not considered art, then that is something that we have brought upon ourselves by not considering ourselves artists. I believe that we should say, 'I am not just an illustrator, I am an artist.'"(as quoted in J. Goffman, The Great American Illustrators, New York, 1993, p. 122) As artists often do, Rockwell drew inspiration for his illustrations from his own life and experiences. While he largely retained an unsentimental view of his childhood, he affectionately recalled his family’s summer trips to the Adirondack Mountains, which provided a welcome escape from life in New York City: “In the city we kids delighted to go up on the roof of our apartment house and spit down on the passers-by in the streets below. But we never did things like that in the country. The clean air, the green fields, the thousand and one things to do…got somehow into us and changed our personalities as much as the sun changed the color of our skins.” (N. Rockwell, Norman Rockwell: My Adventures As an Illustrator, New York, 1988, p. 34) In these rural settings, Rockwell discovered an idealized form of life that suited his disposition and held his fascination for years to come. Everyday scenes and people, first appreciated by the artist at a young age, manifested themselves in his most iconic works and allowed his paintings to become both universal and relatable. While Rockwell’s characteristic view of American life had its basis in his childhood, in 1939, he sought new surroundings that would inspire further development in his work, having grown restless in New Rochelle, New York. The small town of Arlington, Vermont, with its distinct New England feel appealed to Rockwell, his wife Mary and their three sons, and his arrival precipitated an improvement in his creativity and motivation. Shortly thereafter, he also began actively travelling the country for inspiration. Between 1943 and 1948, he toured as far south as Georgia and as far west as Missouri to capture the lives of everyday Americans in an eight part pictorial series for The Post. Through these eight images the readers of The Post learned what it was like to spend a night on a troop train with paratroopers (A Night on a Troop Train, 1943, unlocated); wait to see the President of the United States (So You Want to See the President, 1943, Office of the White House, Washington, D.C.); appeal to a ration board (Norman Rockwell Visits a Ration Board, 1944, Private Collection); register to vote at a polling station (Norman Rockwell Paints America at the Polls (Election Day), 1944, Cedar Rapids Art Museum, Cedar Rapids, Iowa); observe the daily operation of a small town newspaper (the present work); watch a lesson in a rural classroom (Norman Rockwell Visits a Country School, 1946, Private Collection); visit a family doctor in a Vermont town (Norman Rockwell Visits a Family Doctor, 1947, Norman Rockwell Museum, Stockbridge, Massachusetts) and travel with a county agricultural agent as he performs his duties (Norman Rockwell Visits a County Agent, 1948, Sheldon Museum of Art, University of Nebraska, Lincoln, Nebraska). Through wars, depression, and civil strife, Rockwell portrayed subjects inspired by ordinary, everyday life and this series was a perfect representation of his contribution. In regards to this painting and the others from the series, Rockwell described, “During the 1940’s I did a series of pictorial reports for the Post, variously entitled ‘Norman Rockwell Visits a Country School,’ ‘Norman Rockwell Visits his Family Doctor,’ and so on. Each report consisted of a full page spread, and two pages of black and white sketches…I usually spent two days at the scene of the report. During the first day I tried to get the feel of the place and rough out in my mind the story I wanted to tell. The second day I made sketches, decided on the subject and setting of the painting, and had photographs taken. Back in my studio I did the painting and made the finished sketches. I enjoyed doing these reports. They were a pleasant and stimulating change from my regular work…and gave me a chance to travel about the county and meet a lot of people.” (as quoted in R. Schick, Norman Rockwell: Behind the Camera, New York, 2009, p. 51) In Norman Rockwell Visits a Country Editor, Rockwell captures the office and daily operation of the Monroe County Appeal, a local newspaper founded in 1867 and based in the small town of Paris, Missouri. The focal point of the picture, seated at the central typewriter and set before the office window, is longtime editor of the Appeal, Jack Blanton. The Post captioned the painting: “Blanton is shown batting out a last-minute editorial. That picture above his desk is one of his father, who founded the Appeal. The gold-star service flag hangs beneath the picture of a grandson of Blanton’s, who would have succeeded him as editor if he hadn’t lost his life in the Army Air Force. Peering over Blanton’s shoulder is the Appeal’s printer, Paul Nipps, whose experienced eye is gauging the number of printed lines the editorial will take up.” (The Saturday Evening Post, New York, 1946, p. 25). At the left side of the painting, a young boy, aware of the looming press deadline, races through the office under the watchful eye of a young female reporter. At the right side of the image, two local residents are purchasing a subscription to the Appeal, while a seated customer with legs extended intently reads the paper, reporting the untimely passing of President Franklin D. Roosevelt. Ron Schick notes, “The lead story ‘End Comes to President’ and photographs of FDR and his successor, Harry S. Truman, are visible on the front page.” (Norman Rockwell: Behind the Camera, p. 51) Meanwhile, Rockwell himself strides through the door with a portfolio wedged under his arm and a trademark pipe jutting from his mouth. Painted with an acute attention to detail, every element of the painting was carefully considered and rendered with a high degree of clarity. The extraordinary detail in every vignette of Rockwell’s best works from the 1940s, such as Norman Rockwell Visits a Country Editor, is a result of a profound shift in his working methods around the time of the artist’s move to Arlington. In New Rochelle, Rockwell relied upon professional models, enlisting them for hours until he achieved the desired effect in his paintings. Then, around 1937, Rockwell began to incorporate photography into his creative process. This method meant he could stage elaborate tableaus as subjects and capture the various expressions of his sitters in an instant. Rarely satisfied with a single photograph, the finished illustration was often a composite of many. Indeed, nearly one hundred preparatory photographs were taken for the present work. David Kamp writes of this exhaustive creative system, “First came brainstorming and a rough pencil sketch, then the casting of the models and the hiring of costumes and props, then the process of coaxing the right poses out of the models, then the snapping of the photo, then the composition of a fully detailed charcoal sketch, then a painted color sketch that was the exact size of the picture as it would be reproduced, and then, and only then, the final painting.” ("Norman Rockwell's American Dream," Vanity Fair, November 2009, p. 5) This new approach, coupled with towns around the country full of fresh faces willing to pose for the celebrity artist, meant a flurry of artistic inspiration. "While Rockwell found the perfect settings for works such as Homecoming Marine and Shuffleton's Barbershop close to home, he was willing to travel any distance for his location photography. He went to New Mexico to photograph a train station for Breaking Home Times, the White House for So You Want to See the President!, the offices of a Missouri Newspaper for Norman Rockwell Visits a Country Editor, and New York City to shoot a Times Square restaurant intended for Saying Grace. In so doing, Rockwell gained more than photographs of a background that met his demand for genuineness." (Norman Rockwell: Behind the Camera, p. 98) Covering a sweeping range of topics, including the difficult subject of war, Rockwell helped forge a national sense of identity through his art. Finch writes, “World War II played a very strange role in Rockwell’s career. Rockwell is far from being a warlike person; he is, on the contrary a gentleman in the literal sense of the word. Yet the war brought out the best in him and turned him toward the naturalistic portrait of home-town America which he put to good use in the decades that followed. His immediate contribution to the war effort on the home front was quite considerable. What is most important about his period, in relation to his career as an illustrator, is the fact that he was given an opportunity to prove to himself and to others that he was capable of dealing with serious subjects without abandoning the human touch which had always been his trademark.” (Norman Rockwell’s America, p. 200) Norman Rockwell's portraits of America are both a faithful historical record of, and a tender tribute to, American popular culture. "His subject was average America. He painted it with such benevolent affection for so many years that a truly remarkable history of our century has been compiled. Millions of people have been moved by his picture stories about pride in country, history, and heritage, about reverence, loyalty, and compassion. The virtues that he admires have been very popular, and because he illustrates them using familiar people in familiar settings with wonderful accuracy, he described the American Dream." (T.S. Buechner, Norman Rockwell: A Sixty Year Retrospective, New York, 1972, p. 13) The scope of Rockwell’s appeal continues to grow as new generations live through the same quintessentially American types of experiences that he so faithfully depicted in his art.” —Christie’s Lot Essay
6840	dbpedia	3	33	http://www.brooklyndoublewide.com/home/2018/8/7/thomas-cole-site-with-kids	en	Friendly Historic Site in Catskill, NY — Brooklyn DoubleWide	http://static1.squarespace.com/static/56f975417da24fac0ed9300c/56f98309356fb06b80d6c11e/5b6a41e003ce64348eadf98c/1560257535070/thomas+cole+national+historic+site.jpg?format=1500w	http://static1.squarespace.com/static/56f975417da24fac0ed9300c/56f98309356fb06b80d6c11e/5b6a41e003ce64348eadf98c/1560257535070/thomas+cole+national+historic+site.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1462194462038-TYOTSRVLWPSJI0R3GQY6/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533738854458-B2CGUUIK6N6HZ421OK45/thomas+cole+national+historic+site.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691677208-QQG81ZQYO94O098P9TOP/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533690955779-NRIWZDCOURS80NV2STAH/thomas+cole+outhouse+catskill", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691712462-5X187J3AWM9UOKOL2PJA/thomas+cole+catskill.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533735901734-SJAZY25AQQO222I9FHHJ/IMG_6851.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533735901734-SJAZY25AQQO222I9FHHJ/IMG_6851.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533735936772-HKHXW3D28SXB3401MR9Y/thomas+cole+for+kids.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533735936772-HKHXW3D28SXB3401MR9Y/thomas+cole+for+kids.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691763482-50REPOI78FZN7BHEYPY0/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691785449-VA9LZSAU7GZRQ3WK14GD/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533692078273-KNVI7FETERGLU8CAZ0V2/thomas+cole+window.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691037947-VNI39U5KI58E0A6C70MT/IMG_6898.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691037947-VNI39U5KI58E0A6C70MT/IMG_6898.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691044902-IJJAFLTN7N140JQ1M6G7/IMG_6911.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691044902-IJJAFLTN7N140JQ1M6G7/IMG_6911.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533692008993-6MAY14FXF6HFFAN4R98K/thomas+cole+sitting+room.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533692008993-6MAY14FXF6HFFAN4R98K/thomas+cole+sitting+room.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533692016987-CWB7475HX4WJ0QFOXOJZ/thomas+cole+movie.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533692016987-CWB7475HX4WJ0QFOXOJZ/thomas+cole+movie.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691865846-6R5O4F9DM4I5FQ2CHMPT/thomas+cole+instrument.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691865846-6R5O4F9DM4I5FQ2CHMPT/thomas+cole+instrument.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691873559-I5BEC1OWX47UBT99MS8E/thomas+cole+paint.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533691873559-I5BEC1OWX47UBT99MS8E/thomas+cole+paint.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533736650643-5CXFPJMPNRKK9Y52INOG/thomas+cole+house+mountain+view", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533736812181-GEHIBMDXNQKN32ESXFYR/map+of+catskill+mountains", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533690993191-5YTAQAW8Q34WP4HHU5LN/pink+echinacea", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1662035741316-IGS912WRNVQ7CNPGA8U9/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1662035741316-IGS912WRNVQ7CNPGA8U9/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1661622695451-XVOQX87AODPX2NUK48NE/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1661622695451-XVOQX87AODPX2NUK48NE/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1661515612308-DM22DBNHSPK4X73I27NC/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1661515612308-DM22DBNHSPK4X73I27NC/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1660830114319-OW6Z557SNSBYY29NKL9G/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1660830114319-OW6Z557SNSBYY29NKL9G/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1660221807506-LU05VGFLIRO61E7LJOVR/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1660221807506-LU05VGFLIRO61E7LJOVR/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1534278283702-7SGJGAJFFWONIH3CAMF8/IMG_7154.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1533064383000-WSD6TXIWKU6N3SNM9Q3D/hort+and+pott+summer.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1517950574951-LVRURK5PKNYLNXKLTSHC/IMG_9850.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1627408091982-Y9XHM7DLHB7RSUURD2H2/DSC_0731.jpg", "https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1661799881401-FB32MDXOQLI5WT9GW7BR/is+pratt+rock+hike+safe+for+kids.jpeg" ]	[]	[]	[ "" ]	null	[ "Kara Zuaro" ]	2018-08-07T00:00:00	Art, history, and nature converge at the the historic Catskill, NY home of landscape painter Thomas Cole. And it's the kind of place that really lights up when inquisitive children arrive.	en	https://images.squarespace-cdn.com/content/v1/56f975417da24fac0ed9300c/1462133060337-8ZCM7ODCK3EL8ON0WHVX/favicon.ico?format=100w	Brooklyn DoubleWide	http://www.brooklyndoublewide.com/home/2018/8/7/thomas-cole-site-with-kids	The Thomas Cole House: A Kid-Friendly Historic Site in Catskill, NY At the Thomas Cole National Historic Site in Catskill, art, history, and nature converge. And it's the kind of place that really lights up when inquisitive children arrive, so if your kids are interested in any of these subjects, definitely bring them along for a self-guided afternoon tour. (Be sure to check out their detailed schedule or call before you go, but we recommend the "Explore at your own pace" option, which generally takes place from 2pm to 5pm on Tuesdays through Sundays. Mornings are generally reserved for guided tours.) Ramona, pictured above on Thomas Cole's porch, was delighted by the kid-friendly pamphlet that explained how paint was made in Thomas Cole's time. However, let's be real here: This 4-year-old burgeoning artist did not fully appreciate the birthplace of American art. She wouldn't have made it through the hour-long guided tour and didn't care about the paintings. Still, the site has a lot to offer for little people with short attention spans. For instance, she and Archer, her 7-year-old brother, were both very interested in Cole's classy outhouse. And both enjoyed showing off their Art-Appreciation Faces with the wooden cut-out of Thomas Cole. We were all happy to find the outdoor drawing areas, which are equipped with paper and pencils. We're a family that spends a lot of time drawing together, and it felt really special to sit out in nature and draw right in the place where the Hudson River School of landscape painting began. In a small, on-site gallery, a few Thomas Cole paintings are on display in gilded frames. The landscapes are so expansive, so breathtaking, so rich with color and detail. The paintings sing the songs of an earlier time, but the scenes are familiar to anyone who has spent time in a modern-day, unspoiled Catskills forest. In the gift shop, tote bags are emblazoned with the slogan, "We Are Still In Eden," and when you're looking at these paintings, this really does ring true. Now, not every 7-year-old kid is going to get as excited about landscape paintings as Archer, but these majestic works do have a playful, magical spirit that some kids could really get into. We looked closely at Thomas Cole's Italian Scene Composition, painted in 1833, and zoomed in on a tiny detail, pictured below. Might this be a self-portrait of Thomas Cole, with a goat about to eat his red jacket? Will the goat knock his top hat into the water? While Archer and I pondered the paintings, Ramona was more interested in exploring the grassy grounds. Both kids were curious about the big yellow house where Thomas Cole lived. Archer really wishes that top hats would come back into fashion (#stylegoals), so we were all pretty excited to spot a straw top hat hanging from a hook in the foyer, and a glass case housing Cole's actual top hat, along with a well-worn leather travel case. And I just loved it when the window shades and frames in the sitting room turned into movie screens. Such a smart, modern use of a traditional space. It really made the old house feel alive. Archer would've very much liked to break the rules and touch all of Cole's furniture, but fortunately, there were enough hands-on tables to keep the kids itchy little fingers busy. They especially enjoyed playing with a mortar and pestle, similar to the one Cole would've used to grind the pigments for his paint. Though it's hard to fully capture in a photo, the view of the mountains from Thomas Cole's porch is so inspiring, at least for the elder 3 of us. Little Ramona was far more enchanted by the little garden bursting with hot pink echinacea. The Thomas Cole National Historic Site is located at 218 Spring Street in Catskill, NY; 518.943.7465. Hours vary by month, and you can see the full schedule here. The grounds are open free of charge from dawn to dusk every day. General admission is $14 per adult visitor, whether you're taking a guided tour or exploring on your own. Admission for kids under 16 is free.
6840	dbpedia	0	82	https://www.hobokengirl.com/rexer-gallery-hoboken-art-gallery/	en	Rexer Gallery – Hoboken’s Newest Contemporary Art Gallery	https://www.hobokengirl.…n-1-1024x986.png	https://www.hobokengirl.…n-1-1024x986.png	[ "https://www.hobokengirl.com/wp-content/plugins/search-and-navigation-popup//assets/images/search.png", "https://www.hobokengirl.com/wp-content/uploads/2024/06/Real-estate-2024-desktop.gif", "https://www.hobokengirl.com/wp-content/uploads/2024/06/Real-estate-2024-mobile.gif", "https://www.hobokengirl.com/wp-content/uploads/2024/04/WL_WebAds_Animated_1340x336.gif", "https://www.hobokengirl.com/wp-content/uploads/2020/09/rexer-gallery-hoboken-1-650x626.png", "https://www.hobokengirl.com/wp-content/uploads/2020/09/rexer-gallery-hoboken.jpg", "https://www.hobokengirl.com/wp-content/uploads/2020/09/aaron-boucher-rexer-gallery-hoboken.jpg", "https://www.hobokengirl.com/wp-content/uploads/2023/05/Hoboken-girl-2023-ad.gif", "https://www.hobokengirl.com/wp-content/uploads/2022/01/sojo-spa.gif", "https://www.hobokengirl.com/wp-content/uploads/2020/09/walter-rodriguez-rexer-gallery-hoboken.png", "https://www.hobokengirl.com/wp-content/uploads/2023/06/ZAPP-BANNER-300-×-125-px.jpg", "https://www.hobokengirl.com/wp-content/uploads/2020/09/rexer-gallery-hoboken.png", "https://www.hobokengirl.com/wp-content/uploads/2020/09/rexer-gallery-art-hoboken.png", "https://www.hobokengirl.com/wp-content/uploads/2020/09/rexer-gallery-hoboken-1.png", "https://www.hobokengirl.com/wp-content/uploads/2020/02/EMAIL-BUTTONS-8.png", "https://www.hobokengirl.com/wp-content/uploads/2024/03/Hoboken-Drama-Ad-800-x-800-px.gif", "https://www.hobokengirl.com/wp-content/uploads/2023/12/jersey-city.gif", "https://www.hobokengirl.com/wp-content/uploads/2023/11/JK-therapy.gif", "https://www.hobokengirl.com/wp-content/uploads/2023/06/ZAPP-BANNER-300-×-125-px.jpg", "https://www.hobokengirl.com/wp-content/uploads/2024/03/Hoboken-Drama-Ad-800-x-800-px.gif", "https://www.hobokengirl.com/wp-content/uploads/2021/06/muller-insurance-2021-draft3.gif", "https://www.hobokengirl.com/wp-content/uploads/2021/12/HB-Girl-PNG.png", "https://www.hobokengirl.com/wp-content/authors/VictoriaM-256.jpeg", "https://www.hobokengirl.com/wp-content/uploads/2021/12/HB-Girl-PNG.png", "https://www.hobokengirl.com/wp-content/uploads/2021/12/MG-Girl-Png.png", "https://hobokengirl.com/wp-content/logos/jersey-shore.png", "https://www.thecatskillsgirl.com/wp-content/uploads/sites/4/2024/01/catskills-logo-2021-circle-FINAL.png", "https://www.thebergencountygirl.com/wp-content/uploads/sites/5/2024/01/bergen-county-logo.png", "https://www.hobokengirl.com/wp-content/uploads/2022/01/local-girl.png", "https://www.hobokengirl.com/wp-content/themes/soledad/images/penci-holder.png" ]	[]	[]	[ "" ]	null	[ "Victoria Marie Moyeno" ]	2020-09-07T15:00:10+00:00	The Hudson County art scene just got a whole better thanks to Rexer Gallery, Hoboken’s newest contemporary art gallery.	en	https://www.hobokengirl.…4/05/favicon.png	Hoboken Girl	https://www.hobokengirl.com/rexer-gallery-hoboken-art-gallery/	Art Art is commonly reflected on as a sign of the times, as a reference of historical, and cultural significance. Through art, we can learn so much; it provides common ground amongst people, inspiring untapped creativity and new perspectives to evolve. Recently, the Hudson County art scene just got a whole better thanks to Rexer Gallery, Hoboken’s newest contemporary art gallery located at 636 Washington Street. In case you were wondering, Rex means “King” in Latin and Rexer is a palindrome of that word, meaning “Two Kings”. The logo of Rexer Gallery shows the intersection of two crowns to represent the partnership. This is the perfect name for a gallery that was spearheaded by two leaders in the local art community, Aaron Boucher and Walter John Rodriguez. “Rexer Gallery is the new home for local contemporary art. Our gallery’s mission is to celebrate the lives and careers of regional living artists as well as carefully selected national and international talent. We wish to introduce our collectors to an exclusive cultural experience and be a catalyst for the most exciting artistic events and developments in the area,” the mission statement from the gallery reads. The inaugural exhibition was held on Thursday, September 3rd, at 7:00PM and featured local talent. The exhibition is titled “September Invitational Exhibit / 2020” and showcased recent works by Aaron Boucher, Roy Kinzer, Nora Murphy, Raisa Nosova, Walter John Rodriguez, Bruce Stiglich, and Rob Ventura. About The Founders Aaron Boucher, the co-founder, and curator of Field Colony is a multidisciplinary, conceptual, and figurative artist who focuses on paper, canvas, and sculpture. Through his expertise and experience, he has cultivated a wealth of knowledge about the industry as well as the local art community. Visitors to the gallery can take private classes for painting, live drawing, 3D modeling/sketch up, Adobe Illustrator, wax on, marbling/suminagashi, Adobe Photoshop, and film. To follow Field Colony’s latest projects, follow the gallery on Instagram or check out the website. Walter John Rodriguez is an artist who has been honing his craft from a young age. Walter graduated in 2002 with a B.F.A. degree in Illustration from the University of the Arts in Philadelphia. Currently, he is producing a series titled “Cold Front” of realistic figure portraits that attempt to present a psychological portrait without showing faces. Most recently, Walter collaborated with “Inter Miami CF”, Miami’s professional soccer team owned by David Beckham. He also collaborated with Miami’s Adrienne Arsht Center to support the city’s production of “Hamilton” the play and participated in high profile art fairs such as Art New York/Context, Red Dot in Miami, and Superfine in LA. Locally, Walter has with Mana Contemporary and Prime Gallery in Jersey City. For more details on Walter’s upcoming projects, follow him on Instagram or his website. “I have curatorial experience from having organized annual art shows for hundreds of talented students over 14 years through my experience as a teacher. I also spearheaded the initiative to organize and conduct art exhibits turning people’s homes into art galleries as a board member with the WPA {Washington Park Association} in Jersey City,” Walter shared. Read More: Hoboken + Jersey City Murals: The Stories Behind Them How Rexer Gallery Came About Rexer Gallery was born from an epic artistic duo, Aaron Boucher of Field Colony, and Walter John Rodriguez, a well-seasoned artist. “Fortunately, Aaron and I met shortly after he had opened Field Colony. One day I saw the Instagram notification indicating Field Colony was following me, I proceeded to look on his page, noticed there was an event and I went. We were happy to meet each other. Since then, our relationship has grown through many collaborations and it recently decided to form a business partnership,” Walter told Hoboken Girl. Aaron, who is a staple in the local arts community, explains what inspired him to open a second gallery in town. “It was the culmination of several chance moments. I originally was granted permission from the building owners to install artwork in the windows as part of our HBKN Art Tour initiative. After a chance showing the two-floor venue and private outdoor space, I immediately saw the potential for what this location could be, an art gallery, and event space,” he shared with us. “I invited Walter to hang his work in the storefront, and when he first visited, we walked the space and I shared my vision. Shortly after, we decided to partner together and began formalizing how we would transform this into reality.” The two agreed that Hoboken, with the guidance and vision of its artists, has the potential to become a cornerstone for the arts in New Jersey. Rexer Gallery is different from Field Colony and unique on its own because, at Field Colony, Aaron focused on creating a working and teaching environment within an art gallery. At Rexer they are focusing on art exhibits while offering the space for the inclusion of private gatherings and events to actively engage our guests and collectors. The Art ^ “Surrealismo en El Barrio El Pinar” By Jenny Brover via @rexergallery Viewers should expect to see the latest work by exciting contemporary artists. “We will show artists with dominant skills in all genres of contemporary art. Some of our artists are figurative painters, some are abstract sculptors, some come from an academic background while others have built careers doing graffiti and street art,” Aaron explains. Arguably the most exciting part about the gallery is that Aaron and Walter are primarily interested in shaping the career path of local artists. Viewers can expect to see art that exemplifies the aesthetic and cultural trends that are happening right now all across the country and the world, as Aaron puts it. See More: A Look Inside Hoboken’s Barsky Gallery The Experience Rexer is a two-level gallery with the main showroom for large works and headlining exhibitions at street level with Washington Street. The lower level will serve as a gallery store where they will exhibit smaller more affordable works by their gallery artists. The front display windows are extensions of the indoor space where viewers are surrounded by works from the current exhibition as they enter the gallery. “We also feature an elegant outdoor space that can be reserved for private events. This large space meets all conditions providing for comfortable intimate casual gatherings and conversation. Our guests will also enjoy an exclusive opportunity to view a prominent mural by one of our gallery artists, Jonathan Joubert to complete the experience,” Aaron continued. Rexer Gallery will quickly leave its mark not only in the Mile Square but the local art community as a whole. From cutting-edge and thought-provoking works to a one-of-a-kind event space for any celebration, Rexer Gallery is coming in hot and should be on every art-lovers’ radar. “We welcome you to stop by when you are in the neighborhood and view the art on display and to see for yourself what a unique and beautiful space we are offering for your next event,” said Aaron and Walter.
6840	dbpedia	2	74	https://www.cbsnews.com/pictures/notable-deaths-in-2022/	en	Notable Deaths in 2022	https://assets1.cbsnewss…61ee316b5993cbf9	https://assets1.cbsnewss…61ee316b5993cbf9	[ "https://assets2.cbsnewsstatic.com/hub/i/r/2023/01/01/5ac6945f-9ddd-4a6b-b313-0df9243cf2d4/thumbnail/620x465/fad28c094a0989529168fa4ac7796c42/pope-benedict-getty-527579078-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2023/01/01/89acd145-0368-4782-821a-84563c3fac4e/thumbnail/620x465/405829263e744104131fd5431356ab96/barbara-walters-getty-1190609618-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2023/01/01/58b202b6-c4ae-40ba-a2c9-9c1485154ece/thumbnail/620x465/ab6aaa47ceccdcebe987008c6a93198b/pele-getty-496570815-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2023/01/01/7b2ad9ca-5aa3-4544-9caf-6662fcd5c02c/thumbnail/620x465/082de59e9c6d8c06ae964ac5fb3276f7/vivienne-westwood-getty-115155444-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/12/16/367fd598-b749-46e1-8fcb-cf5b149a5827/thumbnail/620x465/13d15ee5da8896468b824f3c7f284540/twitch-boss-getty-545771270.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/12/16/4f565977-d450-4661-a1cb-f7f4b0a0e2de/thumbnail/620x851/6c8d731eaaaee4d7b5f39c6866a697ab/angelo-badalamenti-getty-1213894287.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/12/16/0ceafe02-4e45-48f1-81c5-31463a23c3ad/thumbnail/620x465/463467be494d4dc31df53d37be69b102/kirstie-alley-getty-141327073.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/12/05/6253e657-11e5-473e-a366-57003a7b8d97/thumbnail/620x465/156f5adc0ef18e158062da5d48073801/bob-mcgrath-gettyimages-659997382-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/12/02/f490c563-29c3-4df8-b922-5b833dbafcf1/thumbnail/620x918/faeb4fd56829b463a672b351baa13bf8/gaylord-perry-getty-113259096.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/12/01/a8c2e045-c9d8-44bb-875e-ab63677715a3/thumbnail/620x465/48c68ce7212ce3dd05266701532537ba/christine-mcvie-getty-546054927.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/11/28/f22ae811-d5cf-4147-858c-3de5fa31a7db/thumbnail/620x465/e71c9a6a0563349c17ca2e9266a87dd1/irene-cara-getty-105533687.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/11/21/1cd0530c-9ddb-4174-a55d-4421099d54af/thumbnail/620x465/9a1637a6941c7552064753d9715b236f/robert-clary-getty-90436377.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/11/06/6f9ceea3-ea30-4d41-b674-6baa458f910e/thumbnail/620x465/efecba2d69b285ef3b84abbf9baa3c1c/aaron-carter-getty-137381433-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/10/28/38efec64-bb35-4353-ab53-07303fe0d25d/thumbnail/620x668/07646da8998e6ecec817e8406c40c50f/jerry-lee-lewis-getty-515351352.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/11/06/30ee5d36-a437-4252-890a-ce90cf16418c/thumbnail/620x618/434802017619cebac76a1edb3cf08013/julie-powell-getty-89404990.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/10/31/0d758adc-6657-4ea3-abac-f1da63572a5d/thumbnail/620x349/2a6a337166dd79be6ccc133cd78ec00a/pierre-soulages-montage-getty-1229094305.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/10/31/99d029e7-d863-4277-9fb0-cda10b61512d/thumbnail/620x465/4a3e2ffb410cd24cd09a6b43b47eaefe/leslie-jordan-instagram.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/10/17/708c39ad-ecca-40e0-8e55-cb65d88a1d5e/thumbnail/620x349/4433adae03417a1a006e6883068f9b87/robbie-coltrane-harry-potter-and-the-chamber-of-secrets.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/10/17/7b4734e7-44fc-4484-b1a2-4d5f902fa583/thumbnail/620x349/43ef163b27c36055faf000b8ad7a773a/bruce-sutter-getty-118816781-1920.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/10/17/0c4b4b03-2bb8-4b21-96b0-43a7c1be0ef8/thumbnail/620x465/15628d0313804802038521764e3641b0/angela-lansbury-getty-159835626.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/10/10/07a24493-2adb-4dc6-9fa0-5c6902e60917/thumbnail/620x465/7dc8166d31c6739864946e6b7cfca13f/loretta-lynn-getty-86102795-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/10/03/86611a9d-4170-4c57-94ac-d354cacc9a30/thumbnail/620x927/81570fe77f5b64bced15ceac6f7aa13c/roger-welsch-getty-50599404.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/10/03/e694d91c-35e3-4b99-ad68-88730d0b3dc8/thumbnail/620x465/dcd9d5a17245552f279ff4a38dc5a765/coolio-getty-111562428.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/10/03/da9b5262-06cf-4127-8ed1-0f8081da8f88/thumbnail/620x465/4d066c9f65d9a584e76963de864b3e6f/bill-plante-getty-1209519440-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/10/03/227ebe43-0f1f-4b13-b493-8727d06ed2bb/thumbnail/620x465/99f3a7441498d1b98590c9bf1c226525/louise-fletcher-one-flew-over-the-cuckoos-nest-getty-180971965.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/10/03/51580bee-ed7d-4c07-bfb7-86671650e52e/thumbnail/620x822/b46e7b63b47817629e7779902493f3f1/hilary-mantel-getty-91450019.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/09/16/7480ab21-924d-4e95-a15c-3625a6015d0f/thumbnail/620x465/12f9107f8626daf3c0f9116fa39240a6/irene-papas-in-1970-getty-152231262-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/09/16/ea86994d-4a84-4609-92d3-5bfdc31d1c74/thumbnail/620x465/e96749e8406aadeaba1d6a7af197bd92/jean-luc-godard-in-1968-getty-929637972-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/09/08/36d2ad7c-749c-48db-a7b0-c96c301e8b79/thumbnail/620x465/ff9d74863c7c237b02dc5f21f16c8078/queen-elizabeth-ii-getty-500403992.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/09/16/c134444e-4e81-4037-8dab-7309d6e1811a/thumbnail/620x465/f84d8d7b2250d9cf7d44a7610e83671b/bernard-shaw-cnn-getty-16785151280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/09/16/f7eff57d-319f-48e7-ba9c-51b5570deea9/thumbnail/620x465/3c2c1c69c683f8e127770fb7ad05762d/peter-straub-getty-809586062-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/09/05/b3bd5f2d-1292-4de1-a0b5-93643f52eb62/thumbnail/620x795/361d604ee6cafb2fbf38b8515083fe1b/barbara-ehrenreich-getty-99615687.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/09/02/c448e3cb-12f6-409c-838e-38187f7b6144/thumbnail/620x349/756419f101efd6bdfed978fc32ce63a7/mikhail-gorbachev-1920-getty-1039944002.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/21/07b86b8c-39a2-4569-a278-bc339738593b/thumbnail/620x349/455b1f219b0702cbd8045b4745d0fcbb/wolfgang-petersen-getty-459830855-1920.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/08/21/6701d99b-23ba-49a3-8d26-66a6f0091372/thumbnail/620x822/a73f08080eeba40c7474c3cd31892418/anne-heche-getty-111257419-1500.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/08/21/3c8f5e91-8114-4028-bfb5-075d4398c33f/thumbnail/620x465/cdf0d2aa823a97ee168038e005dca831/bill-pitman-magnolia-pictures-the-wrecking-crew-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/08/11/cc0f7175-07c2-4212-8e79-e3625f03d259/thumbnail/620x465/cbc61b1d219f16e3154a906cd95eed09/olivia-newton-john-1280-getty-1189257950.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/08/08/bb442203-d763-4225-8101-d0f930f89089/thumbnail/620x465/f2e668b26dcf63f785bf31242533d4ac/david-mccullough-ap22220589659178-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/21/71501178-f8e7-43c3-8108-a6cd618b211e/thumbnail/620x465/16b3bee7d449cf14216e1ad57c2e8729/raymond-damadian-getty-524182752-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/08/08/44b17052-b0e9-46c2-9f9c-13ec534baffc/thumbnail/620x349/1dc39ad74c7da4923544c5e1248f50a3/melissa-bank-girls-guide-to-hunting-and-fishing.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/05/9ce861de-5f56-46ab-8e1b-0e52c4cbb222/thumbnail/620x465/5376ee4bfd72b77fe173655fbe3cef17/vin-scully-getty-71463699.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/31/cf3367c2-9b4d-4b8c-815e-0d9f2553fcc0/thumbnail/620x349/24ac5372e8e2977535d41fdf4ff357e1/gettyimages-109136617-1.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/05/71c864e5-a637-442b-b5d2-81017ee30f1c/thumbnail/620x465/edd23164b5ea18b27b62a2e670ef7b44/nichelle-nichols-getty-472244540.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/26/3233c0f0-6c7d-4fa1-a607-6d84168b96c7/thumbnail/620x380/28f788c4e5074dfcb963197ab724afed/gettyimages-3203545.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/05/14bc9fdd-af36-4e59-9484-f16ae85374b9/thumbnail/620x465/65310db17e9366a670c45146151f6eef/james-lovelock-getty-583675824.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/05/54d8545b-d29b-4e6c-bbf0-68fb957fdf4d/thumbnail/620x752/33e9c3a9ad8679a516d34675ac7ea0b7/paul-sorvino-getty-105916929.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/08/05/c4ce59fa-b561-4ae5-a9fb-42bd6e156ced/thumbnail/620x465/97a32a32e40b349b6efaf9e2759b7968/diana-kennedy-getty-124532247.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/25/4c7d5bfb-884d-4f19-85ac-e47f385d7a3c/thumbnail/620x465/228a70e0990aa5550e86f335beacabde/david-warner-nightwing-getty-135870851.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/23/66888c4e-00db-4d7b-a87c-cebba660e387/thumbnail/620x760/e341ff17990dd219e018f34df6a086fb/taurean-blacque-getty-155114997.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/22/b6607bd2-c127-4b8c-8c72-69e90e39ccfb/thumbnail/620x557/6abeee3e051be1c448ea7153dff2dafc/claes-oldenburg-montage-getty.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/14/a2d4ff0c-bbfc-4079-80e9-c5af918edd17/thumbnail/620x755g2/bcb4286de380bac912576fc1a90c2d1e/ivana-trump-getty-535543967.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/18/26ab9623-e489-4c36-b815-346752901899/thumbnail/620x465/a15997eb9f36af6035fbc356985b6ddf/john-froines-ap-700214187.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/18/eb58f556-65be-41a2-9582-b3ebfc485846/thumbnail/620x461/c823570b3c69c2118e9a5ca8624c06d6/dr-no-poster-eon-productions-united-artists-sothebys.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/08/7edf746a-92b2-4c43-a8a6-3dcd4273f054/thumbnail/620x465/b677ebce915ee8caf6d182b687e553ef/larry-storch-getty-93412433.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/07/98adc589-958a-4312-b400-a90ab6c27f02/thumbnail/620x465/8c30dc7ff79f95e4c97b5761353abad3/james-caan-1280-ap100503144626.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/14/08ad3933-8235-41c2-96c5-c7c750d5ab2f/thumbnail/620x195/373e7a4456667ef51723e31f7691c34b/yugioh.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/01/77e91e37-930d-40db-b0e8-c50ffb67dfcf/thumbnail/620x349/cd3ad88de2593ed39fb46d4f119ef9cd/hershel-woody-williams.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/01/ea70162a-4e0c-4580-b829-9f65afdabb68/thumbnail/620x465/91c292d8dfec9c84fe5689437930d281/sonny-barger-getty-1277396818.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/07/03/1ab04409-a702-4240-a531-ba9618419cf5/thumbnail/620x465/5cb32c43b8433581b3bda184ef84365e/marlin-briscoe-getty-161989815.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/07/03/c2722741-6912-41f3-bc19-f33f7c8ddc91/thumbnail/620x349/a9e0c43b1f41fac4cfab00536d832854/joe-turkel-the-shining-getty-162733403.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/07/01/7e3d0509-cf2d-431b-ba14-debadb66f411/thumbnail/620x349/f491f36c44eb5bd682ac8fb6418d1fe6/margaret-keane-4-obit.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/06/27/9eb1db70-9429-4a7b-af3b-72cc25e9f90c/thumbnail/620x465/d2e50d4fb4095f1c1425fa9cdc49ac71/james-radio-gettyimages-549523597-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/06/27/a67506fe-1fc4-4623-905d-823806c48999/thumbnail/620x465/4c55711e69971b69a9277bd3b96399ab/clela-rorex-getty-836977516-1280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/06/19/6364803c-de5f-42de-bb43-200fb7ebdea5/thumbnail/620x465/f2d523c8d4cab637ca8680ab944ed535/mark-shields-ap.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/06/19/501a6dd7-81bc-4510-90d7-93be3af61756/thumbnail/620x991/a39a00087934c963c2082e420c69084d/jean-louis-trintignant-getty-141554832.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/06/19/9e4c7bc8-08ac-4c1d-b3a0-161da13ea880/thumbnail/620x465/cb22ec7f3dff62d78071ee68aceed35f/philip-baker-hall-secret-honor-criterion-collection.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/06/20/548755a9-1b53-49d3-810c-2e96b7ca8e29/thumbnail/620x349/b551b60fa0ee2025ebf2ddfbde0590b8/julee-cruise-getty-491179142.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/05/26/f76020fa-4446-4b0e-adda-cb4245dae172/thumbnail/620x802/b4e17c7d48954e7e2a12866a84e281d0/ray-liotta-getty-71558327.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/05/29/994f7d99-50e1-49fd-94a4-779d2512ed41/thumbnail/620x349/ba821827f01a5b51d0427444569659c4/alan-white-drummer-yes-getty-91152067.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/05/29/ff52a9b2-3914-47c5-9be1-dd7dede8d640/thumbnail/620x349/51e15d86109200008894a056b5bdc0ea/andy-fletcher-depeche-mode-getty.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/05/23/3cfb1bc2-476a-4593-887a-153b7e9f7a7e/thumbnail/620x214/f5d9763e90413fa250cbe7a881ef75fa/colin-cantwell-merged-with-star-wars-concept-designs.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/05/23/574e250f-a703-4800-88ce-53992205129c/thumbnail/620x349/f5d5f09b95dca7bb65246afeb9f3015b/vangelis-getty-565477169.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/05/13/295007d2-0b5c-42b0-ac50-a1c3cf5b050f/thumbnail/620x465/d9e80569eacfd099dc37c307d3890446/fred-ward-ap910701066.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/05/13/13f8970f-417b-46a5-850b-aea177b65099/thumbnail/620x465/fe906fb3175c9b08658013d31c144f8f/mickey-gilley-getty-601974498.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/05/13/4ad1d58c-a5b2-4197-9cc0-425d9144e579/thumbnail/620x930/66de44417f1d852b938295de904169c4/ron-galella-getty-528769800.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/05/02/8399f13e-22e7-464e-9758-814cd4eaf9e9/thumbnail/620x465/e25c5c783e9edaf7976157d027403c6c/naomi-judd-1280-getty-685913484.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/04/22/7b9d59ef-9c47-43a4-aa27-0e1b949cd937/thumbnail/620x314/8f150b1eb4995d423a45f553ee3d04a1/robert-morse-how-to-succeed-mad-men.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/04/15/ebf7c46d-2fef-46d5-b3b0-91a315967b24/thumbnail/620x465/0ca67c8d87589ef7f7a7e8264e37876e/gilbert-gottfried-1280-getty-2343132.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/04/22/fdd6e0b9-c323-4692-8637-9c2ca0de8c3b/thumbnail/620x365/bcf783a5ebdf6e99d58567f4de95a420/schindlers-list-1920-getty-113998171.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/04/15/43338272-8e94-455f-9518-9e5806bd691c/thumbnail/620x939/5cec9e13087181565ddd9df64136cc84/rayfield-wright-1500-getty-85356204.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/04/15/419dc7b7-ae0b-4400-a0bc-0f23420ca520/thumbnail/620x465/5897aa2b39daff9ed845b4dfe492df73/bobby-rydell-1280-getty-587839280.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/04/15/fd2bc9a0-f9f1-44ac-a9fa-391b69a3ead8/thumbnail/620x451/401332653ead6e8fdc9d49d1930abfbf/eric-boehlert-media-matters-msu.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/04/15/3deb72d4-7813-4460-8a55-8422ce627993/thumbnail/620x465/442ea7a376ddf9ed55cfe390893db862/estelle-harris-1280-getty-105115868.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/03/27/55db8ada-6312-4a61-9a66-b894550f63db/thumbnail/620x465/68e84bf62cbc059189ff42ae2bd59d0a/taylor-hawkins-1280-getty-1387784405.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/03/27/41e285ff-aa0d-4d62-a4c4-6946d6d16bac/thumbnail/620x465/7718a275d8de1c081de54d01d235cc8c/dirck-halstead-montage-1280-getty-1507528.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/03/25/a19be5b9-68aa-414f-80fb-977b0c133815/thumbnail/620x465/d5d5112c061a1ae3575fe193edd82a34/madeleine-albright-1280-getty-74897577.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/03/27/6e1a5da1-b871-4b34-8662-285ace25b701/thumbnail/620x866/285cbd8a34cc5cabfd55f6b9849f3617/stephen-wilhite-ap-7452449243419027.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/03/14/42478574-4622-4cc0-9827-b4c45208ebf6/thumbnail/620x779/84d6fc968c24ad43fab186215ba353e6/william-hurt-getty-105925328.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/03/14/0f8c5178-3f9b-4a6b-8a28-ed8d0d4bed32/thumbnail/620x465/2324225e4cd6daeb8a57685dfb54a2ff/brent-renaud-ap628737262817.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/03/14/4ce36e43-3706-4028-9b6a-a692770e831f/thumbnail/620x451/fe03916842e0da0052ee6f901d56d55f/luis-sesame-street.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/03/27/3efc5c7d-022e-4341-929a-908f9bca648a/thumbnail/620x349/9c924f4d3594c8353240fa7e4fb81422/yuriko-1920-getty-692369777.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/03/07/e74d1acd-567f-4f8d-bd56-d3bb42ec4490/thumbnail/620x465/192d1a793c9457cbd03d35ea6dac6f26/alan-ladd-jr-1280-ap-547189836695.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/02/25/07dd324b-9a59-49c9-b08a-546f25657718/thumbnail/620x820g2/c6686acd82ef21ab0114418897967170/sally-kellerman-vertical-getty-517263294.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/03/07/6dc63a66-062e-421d-9f8b-4139ca89e27a/thumbnail/620x765/4b071343187d118e2169b211bf435ecf/deanie-parish-750-usaf.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/02/25/e74c4ab7-3a64-4c33-9983-64d57f03343d/thumbnail/620x349/a238ede332412725eea7120895d46801/dr-paul-farmer-getty-524521324.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/02/27/1b6cfbf2-cdd6-4b72-9aa3-8fa5a50cfe72/thumbnail/620x349/7fe4d8f1e469015b46d83c9ea9387148/gary-brooker-getty-109686735.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/02/18/c4bcfb4c-2e9f-45fe-9c7f-8aceb2b01c18/thumbnail/620x349/0fea8c636934caa52f21898447d1d9ca/pj-orourke-1920-getty-528989122.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/02/21/58ecc1aa-0d19-4e73-b564-38ef05ef5eda/thumbnail/620x371/55a3904ca9f05b7179b2745b6e6f6305/carmen-herrera-montage-getty.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/02/14/56cbc29b-8327-44be-ba8e-c29593f0b77f/thumbnail/620x465/5cc4bb552a9069a4dbd3629ce31e33d4/ivan-reitman-ap091030042468.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/02/13/9cd702f5-65ae-4b76-b925-07aa9fb09229/thumbnail/620x407/260348186bbba9e2fe6f6c7291ef6211/douglas-trumbull-montage-mgm-warner-bros-columbia-paramount-fox-searchlight-getty-images.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/02/06/84b9337d-0f95-4c8c-8744-5d5c9acc1cfa/thumbnail/620x775/1d562c689b91a62479bff18b7f456122/monica-vitti-getty-527186398.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/01/31/46ab7563-6186-4513-9972-65e316e66930/thumbnail/620x465/f0e2395712c08c2c23659a7d550d4888/cheslie-kryst-1280-getty-1209349911.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/31/d21180df-7b24-4a82-a484-9a713fb998b0/thumbnail/620x725/24736750cbb008e43dcd4cd7e6f4c831/howard-hesseman-getty-145710550.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/31/0f1e2bd7-9e91-4e31-849e-42c4ef3a900b/thumbnail/620x671/a2cc14a1952e3b37f59ba4b4cef43df0/don-wilson-the-ventures-getty-74299760.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/24/a468dd1e-fc96-4a64-ba8b-0971775ac244/thumbnail/620x379/887d6f39bfa46d9765cb12af394cb055/thierry-mugler-fashion-montage.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/24/78b5c78d-c63c-4a9e-8fb0-7498dfd96b4d/thumbnail/620x349/9423f0183601e28e45c81b0eb13713de/thich-nhat-hanh-getty-73929011.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/21/57d578fd-9a7f-4799-ae94-15861132685a/thumbnail/620x866/57b690af068e1f71a9d5076ed28c518a/louie-anderson-vertical-getty-451564692.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/21/ea964ef4-3de2-4430-bd36-deb3494d2fef/thumbnail/620x936/8b237dbfe609c5c813243a52fe417e11/meat-loaf-getty-481670411.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/31/0c2e5bd9-ca8c-4bc2-a673-afd4c0b7d097/thumbnail/620x465/8870ea4275e3fcabeb83c9edbabb41bf/dick-halligan-bst-1280-getty-145722739.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/01/24/645017af-f55b-4c92-81bf-59c7674b66df/thumbnail/620x775/2424af9e1b3957af9b565b288ee12b1a/andre-leon-talley-getty-697385576.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/21/8965dee3-19a3-4032-82e1-00ed5dbc0378/thumbnail/620x465/311eff71148dee23915a12ee64fe8e40/yvette-mimieux-getty-1047961126.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/24/469220d1-35e1-4760-9500-35edfe655a7c/thumbnail/620x650/3c3676b237b1c024e23be411cef18239/robert-washburn-dignity-memorial.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/01/21/81934511-5271-4df4-b157-b7cd49fb8320/thumbnail/620x465/d5865902630802ddd0ac07096a6445a9/steve-schapiro-1280-getty-164278516.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/21/65d98b59-20fc-4f1a-b804-19179c879670/thumbnail/620x465/413fbe4b12c2f1e75f1587c3dbfba0f6/ralph-emery-1280-getty-82868209.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets1.cbsnewsstatic.com/hub/i/r/2022/01/14/9cd5c9cc-1dab-475a-8ed0-dc42008e25a4/thumbnail/620x776/251232b2b64b6c741a9b8598a06404f6/ronnie-spector-getty-74293604.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/21/dfadd1e2-a119-41b0-971c-e3282f3393c3/thumbnail/620x465/fe9784ba9d9074e479a0a509c67fbcb6/clyde-bellecourt-1280n-getty-836990552.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/10/087d42ab-0edf-4466-a254-0d28bc967a90/thumbnail/620x465/1ef017218a289524d222750f2f246065/bob-saget-getty-110226844.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/08/46f0608b-c218-450c-a209-3099ee8610dd/thumbnail/620x832/01b2fc92a4888a692365c2b5112e09dc/marilyn-and-alan-bergman-getty-images-515392770.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/08/d55aa385-fb61-459c-9577-43fcb79c75b7/thumbnail/620x750/02590323f6e905b88eefccee47ab39ac/sidney-poitier-1500-getty-469316499.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets3.cbsnewsstatic.com/hub/i/r/2022/01/09/be0b0a88-e570-412f-b7dc-b704c728d492/thumbnail/620x451/0fba3da146464dbd26712f0d7716bec9/michael-lang-en-2009.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9", "https://assets2.cbsnewsstatic.com/hub/i/r/2022/01/09/c444e9b4-a177-4e84-8281-9de6962a37f2/thumbnail/620x349/a6f70fea2ea66ed188a6bca157190111/peter-bogdanovich-1920-getty-1176808139.jpg?v=d8f7565ef3e8b72561ee316b5993cbf9" ]	[]	[]	[ "" ]	null	[ "David Morgan" ]	2022-01-10T10:10:00-05:00	A look back at the esteemed personalities who've left us this year, who'd touched us with their innovation, creativity and humanity.	en	https://www.cbsnews.com/…61ee316b5993cbf9		https://www.cbsnews.com/pictures/notable-deaths-in-2022/	A look back at the esteemed personalities who left us this year, who'd touched us with their innovation, creativity and humanity. By CBSNews.com senior producer David Morgan. The Associated Press contributed to this gallery. Pope Emeritus Benedict XVI (April 16, 1927-December 31, 2022) stunned the world in 2013 when he announced, after eight years in office, that he lacked the strength to continue as head of the Catholic Church. The then-85-year-old thus became the first pope in 600 years to resign. The first German pope in a thousand years, Benedict – born Joseph Ratzinger – was a theologian and writer devoted to history and tradition, who was elected to succeed Pope John Paul II. He used his position to redirect the world's focus on faith in an era of secularization. On his first foreign trip as pope, at a 2005 World Youth Day gathering in Cologne, Germany, he told a million attendees, "In vast areas of the world today, there is a strange forgetfulness of God. It seems as if everything would be just the same even without Him." He reached out to other faiths, and became only the second pope in history to enter a synagogue. As a conservative, many of his actions (such as relaxing the restrictions on Latin mass) satisfied traditionalists, but were controversial among more progressive voices in the clergy. There were also PR gaffes; he was criticized for telling reporters, in 2009, that distributing condoms would increase, not decrease, the spread of AIDS. But he was also forced to confront the fallout of the church's sex abuse scandal, and notably apologized to victims. Benedict's dramatic decision to retire, rather than to remain in office until his death, paved the way for the election of Pope Francis, a more progressive cleric. The two lived as neighbors, an unprecedented arrangement, as Benedict wrote and lived a monastic life in the Vatican Gardens. Francis would say having Benedict at the Vatican was like having a "wise grandfather" living at home. Barbara Walters Trailblazing broadcaster Barbara Walters (September 25, 1929-December 30, 2022) forged a path for women in an industry that was dominated by men, so much so that, when she was hired as a writer for NBC's "Today" in 1961, she was only allowed to write for women. Writing for male correspondents would become only one of many glass ceilings she would break. She began making on-air appearances with light, offbeat stories, for which she once wore bunny ears to report on the life of a Playboy bunny. In addition to "Today," she also hosted the syndicated morning show "Not for Women Only." Walters would become the co-host of "Today," only to be lured away by ABC News in 1976, becoming the first woman to anchor an evening network newscast, earning an unprecedented $1 million salary. But co-anchoring with Harry Reasoner proved disastrous, and ABC News president Roone Arledge moved her into special projects, with primetime interview specials and contributions to the newsmagazine "20/20," a show she would eventually co-host. And in 1997, she created "The View," an all-female live talk show that tackled any and every topic. During her decades at NBC and ABC, she earned her reputation as a tough interviewer with incisive questioning of newsmakers, celebrities, politicians and world leaders. She admitted she was never in awe around celebrities, because she'd grown up around many, her father being a nightclub owner. "I'm not afraid when I'm interviewing, I have no fear!" Walters told The Associated Press in 2008. And she was not afraid to snatch an interview away from a colleague – her competitive chops to get an exclusive were strong. By 2004, when she stepped down from "20/20," she had logged more than 700 interviews (more than a few of whose subjects would be made to cry). She won 12 Emmys, and received a Peabody Award for her interview with Christopher Reeve, following the horseback-riding accident from which he was paralyzed. In 1999 her two-hour talk with Monica Lewinsky, in which the former White House intern discussed her affair with President Bill Clinton, drew more than 70 million viewers. In 2014, upon her retirement from "The View," Walters said she was proud of her legacy, of the women who followed in her footsteps. And she promised Variety, "I'm not going to cry." Pelé For many, Brazilian football star Pelé (October 23, 1940-December 29, 2022) was the greatest player of "the beautiful game." He won a record three World Cups, and became one of the most commanding sports figures of our era. For nearly two decades he transfixed fans and dazzled opponents with his grace and athleticism as a leading scorer for the Brazilian club Santos, and his country's national team. He was a mere 17 years old when he scored two goals in Brazil's 5-2 victory in the 1958 World Cup final. "I got the gift from God to play football," he said. That gift catapulted him from an impoverished childhood to worldwide celebrity, becoming an ambassador not just for the game, but for UNESCO and the United Nations as well. In 1975, at age 34, he signed a $2.8 million contract with the New York Cosmos that made him the world's highest-paid athlete. He played in the States for three seasons, and finished his career with a record 1,279 goals. In retirement, he didn't quite leave the field. He played a football player in the Sylvester Stallone movie "Victory." In 2018 Pele described for GQ magazine what it was like to make his 1,000th career goal: "It was a penalty kick and for the first time in my whole career my legs were shaking, the whole of the Maracanã was shouting and screaming, and I remember thinking, 'Oh, my God… I cannot miss!' … "When I was 17, it was my first World Cup, no responsibility, no nerves. But for my 1,000th goal, I was Pelé, three-time world champion, most famous footballer. I never felt pressure like it." Vivienne Westwood "I never, ever tried to shock people," said Vivienne Westwood (April 8, 1941-December 29, 2022), who in 1970s London became the leading designer and seamstress of the punk movement – a fashion rebellion made of ripped fabric, safety pins and S&M gear. She told "Sunday Morning" in 2013, "At the time of punk rock, I was so outraged at the way the world is so corrupt and mismanaged and everything, that the look was supposed to be of an urban guerrilla. It was somehow a kind of crusade to challenge the status quo." Westwood hadn't wanted to be a fashion designer; she'd started out as a primary schoolteacher. But she offered to help her boyfriend, Malcolm McLaren, manager of the pioneering punk rock band, The Sex Pistols. Together they opened a music and fashion shop on London's Kings Road. Though she had no formal training, she held her first runway show in 1981, and gradually moved into more traditional fashion work, incorporating historical British designs into contemporary clothes (though still managing to shock, as in her 1987 Statue of Liberty corset). Even decades after punk's rise and fall, the Westwood style remained irreverent and uncompromising, her hair still dyed a trademark orange. And she became accepted by a British establishment that once mocked her; the Queen made her a dame in 2006. When correspondent Anthony Mason asked Westwood if she still thought of herself as a rebel, she replied, "To tell you the honest truth, all I am really trying to do is to make the world a better place," she said. Stephen "tWitch" Boss Dancer and choreographer Stephen "tWitch" Boss (September 29, 1982-December 13, 2022) became the beloved dancing DJ on "The Ellen DeGeneres Show," beginning in 2014, and a familiar presence on TikTok, in videos featuring his wife, dancer Allison Holker. Born and raised in Montgomery, Alabama, Boss studied dance performance at Southern Union State Community College and Chapman University. A contestant on "So You Think You Can Dance," he later became a judge on the dance competition show. He also appeared on "Star Search," "The Wade Robson Project," and in films like "Hairspray," "Step Up: All In," "Step Up 3D," "Magic Mike XXL," the 2016 "Ghostbusters," and "The Hip Hop Nutcracker." In a 2014 interview with the Associated Press, Boss talked about his inspirations: "I love Fred Astaire … [He] was so smooth, and it was great. He was so classy. But Gene Kelly, he could be like somebody's dad, who just decided to get up off the couch and dance around and clean the kitchen up." Angelo Badalamenti Composer Angelo Badalamenti (March 22, 1937-December 11, 2022) was best-known for his work with filmmaker David Lynch, from motion pictures like "Blue Velvet" and "Mulholland Drive," to the cult TV series "Twin Peaks." Sensuous and other-worldly, Badalamenti's synthesizer-infused music was perfectly suited to the surreal and evocative visuals of Lynch. Badalamenti grew up in Brooklyn listening to Italian opera, took piano lessons beginning at age 8, and earned bachelor's and master's degrees from the Manhattan School of Music. A music teacher, he also wrote songs for Nina Simone ("Another Spring") and Nancy Wilson ("Face It Girl, It's Over"), and for the films "Gordon's War" and "Law and Disorder," as well as a Christmas carol that was recorded for PBS. When Isabella Rossellini was shooting 1986's "Blue Velvet," Badalamenti was asked to help her with the vocals for her performance as a nightclub singer. He did, and the subsequent recording earned high praise from the director: "This is peachy keen!" Badalamenti then composed music to accompany lyrics by Lynch for a song, "Mysteries of Love." In a 2016 interview for Pitchfork Magazine, Badalamenti recalled asking Lynch what kind of music he wanted for his very unusual, non-rhyming, no-hook lyrics: "He said, 'Angelo, just let the music float like the ocean tide, just put it in space, make it timeless and endless.'" He brought on singer Julee Cruise to record the ethereal song, which led to Badalamenti being asked to compose the entire score. Listen to an excerpt from Badalamenti's Opening Titles from "Blue Velvet" Listen to an excerpt from "Mysteries of Love" from "Blue Velvet" The composer's collaborations with Lynch would extend beyond films such as "Wild at Heart," "Lost Highway," "The Straight Story" and "Mulholland Dr.," to the landmark series "Twin Peaks," which itself spawned a feature film and a reboot series. (Badalamenti received three Emmy nominations for the show.) Listen to an excerpt from Badalamenti's theme from "Twin Peaks" He and Lynch also staged a live concert piece, "Industrial Symphony No. 1," performed by Cruise, for the 1989 New Wave Music Festival in Brooklyn. Badalamenti's other film credits included "A Nightmare on Elm Street 3: Dream Warriors," "Weeds," "The Comfort of Strangers," "The City of Lost Children," "Holy Smoke," "The Beach," "Secretary," "Lathe of Heaven," "Auto Focus," "Cabin Fever," "A Very Long Engagement," and "Stalingrad." In an article posted on culture.org, Badalementi's nephew, Frances, recalled visiting with his uncle in Prague while he was recording his score for Lynch's "Lost Highway," and a piece of advice his uncle gave him: "You need to do what you are good at. You need to do what you do best." Kirstie Alley Actress Kirstie Alley (January 12, 1951-December 5, 2022) earned plaudits for both comedy and drama, winning one Emmy for the hit sitcom "Cheers" (on which she starred for six seasons), and winning a second for her performance as the mother of an autistic child in the 1994 TV movie "David's Mother." After dropping out of college in Kansas, Alley moved to Hollywood to work as an interior designer. She appeared on game shows as a contestant, on "Match Game" and "Password Plus." But she was hired, despite no professional experience and a faked résumé, to play Lt. Saavik, the half-Vulcan, half-Romulan protégé of Mr. Spock, in "Star Trek II: The Wrath of Khan." She noted at a 2016 "Star Trek" convention panel in Las Vegas that, as a teenager, friends had made fun of her eyebrows' ability to arch: "I have no control over it," she said. "So, I would watch [the original 'Star Trek' series] and when Mr. Spock would come on, I would say, 'Wow, if I was ever an actress, I could play Spock's daughter.'" Films that followed included "Runaway," "A Bunny's Tale" (as Gloria Steinem), "Summer School," and "Sibling Rivalry," before the hit comedy "Look Who's Talking," as a single working mom of a newborn baby (voiced by Bruce Willis). She followed with two sequels "Look Who's Talking Too," and "Look Who's Talking Now." She also earned Emmy nominations for her sitcom "Veronica's Closet," and for the TV miniseries "The Last Don." A spokesperson for Jenny Craig, Alley dealt with weight issues for years, even starring as a fictionalized version of herself in the Showtime comedy series "Fat Actress" (a show that drew laughs from the public treatment of her weight gain and loss), and appearing in the reality series "Kirstie Alley's Big Life" (which documented her attempts to lose weight). She said she agreed to the show because of misinformation about her in the tabloids: "Anything bad you can say about me, they say," Alley told the Associated Press. "I've never collapsed, fainted, passed out. Basically, anything they've said, I never. The only true thing is, I got fat." Her later TV appearances included "Dancing With the Stars" (in which she finished in second place, in 2011), and, in early 2022, the competition series "The Masked Singer." Bob McGrath Bob McGrath (June 13, 1932-December 4, 2022) was a founding cast member of the landmark children's series "Sesame Street" when the show premiered in 1969. His last appearance on the show was in 2017 – a more than four-decade run as the friendly neighbor Bob Johnson. McGrath's character, a music teacher, sang such songs as "People In Your Neighborhood," "Sing," "Morning Town Ride" and "See You Tomorrow." A folk singer and music teacher who'd enjoyed professional success in Japan, the Illinois native was also a singer on the 1960s series "Sing Along With Mitch." He recalled in a 2004 interview for the Television Academy that he'd had no real experience as an actor (most of the cast did not), and was frustrated during his first year on "Sesame Street," not getting a fix on what his character, "Bob," should be. "And ultimately they said, 'You know, we don't really want you to be anybody, we just really want all of you folks to be yourself.' … "It's interesting, we had special guests, they'd come on, and some of them were wonderful, wonderful actors and actresses playing all different variety of roles, but apparently they did not test out as well because the kids kind of really were able to see that they were kind of acting more than being themselves and being totally genuine with them on a one-on-one, eyeball-to-eyeball basis." McGrath was let go after 45 seasons (along with Emilio Delgado and Roscoe Orman) when the show's first-run broadcast rights were moved from PBS to HBO. He told a Florida convention in 2016, "I'd be so greedy if I wanted five minutes more." Gaylord Perry Gaylord Perry (September 15, 1938-December 1, 2022) was the first pitcher to win the Cy Young Award in two leagues – first with the Cleveland Indians in 1972 (notching a 24-16 record); and then, after having just turned 40, with the San Diego Padres in 1978 (21-6). It was his fifth season having scored 20 or more wins. A native of Williamston, North Carolina, Perry was drafted by the San Francisco Giants, and would pitch for eight major league teams over his 22-season career. A five-time All-Star, he posted a lifetime won-loss record of 314-255, with 3,534 strikeouts, and an ERA of 3.11. Although he was only ejected from a game once for doctoring a baseball, in 1982, Perry had a reputation for using foreign substances. In his 1974 autobiography, "Me and the Spitter," he told of first throwing a spitball on May 31, 1964, when Perry, a reliever, pitched 10 innings in a marathon 23-inning game against the New York Mets; he did not give up a run, and was credited with the win. It also earned him a spot in the Giants' starting rotation. He stopped throwing the pitch in 1968 after Major League Baseball ruled pitchers could no longer touch their fingers to their mouths before touching the baseball. (Vaseline and hair tonic became fallbacks.) But he also mimicked routines to make batters think he was applying a foreign substance, to fake them out. The future Hall of Famer, for all his pitching prowess, was not a natural at the plate; Giants manager Alvin Dark once stated that a man would land on the moon before Perry would hit a home run. It was therefore fate that on June 20, 1969, shortly after the Apollo 11 lunar lander touched down on the Moon's surface, Perry hit his first (and only) home run, against Dodgers pitcher Claude Osteen. Christine McVie Vocalist, songwriter and keyboard player Christine McVie (July 12, 1943-November 30, 2022) made her mark in one of the most successful rock bands of the 1970s, '80s and '90s, Fleetwood Mac. Christine Anne Perfect was born into a music family, and studied classical piano until she turned to rock, and joined the band Chicken Shack as a singer and piano player. After two albums with Chicken Shack, she released an eponymous solo album, in 1970, before joining Fleetwood Mac (she had in the meantime married Fleetwood Mac bassist John McVie). Fleetwood Mac would go on to sell more than 100 million records, despite lineup changes that suggested the band was on the outs. But McVie continued (as singer, musician and songwriter), contributing to 14 albums, including the No. 1 charting albums "Fleetwood Mac," "Rumours," "Mirage" and "The Dance." "Rumours" won the Grammy for Album of the Year in 1978. McVie's songs for Fleetwood Mac included "Don't Stop," "Behind the Mask," "Everywhere," "Hold Me," "Oh Daddy," "Over My Head," "Save Me," "Little Lies," "You Make Loving Fun," and "Say You Love Me." And while her marriage to John McVie ended (as memorably documented in song in "Rumours"), the band endured. In the late '90s, McVie left the group, released a solo album, "In the Meantime," and lived in semi-retirement. A fear of flying kept her in the U.K., but after psychotherapy helped her overcome her aerophobia, she flew to Maui and sat in with Mick Fleetwood's blues band. That led to her reteaming with Fleetwood, Stevie Nicks, Lindsey Buckingham and ex-husband John McVie for their 2014 tour. She also collaborated with Buckingham on a 2017 album, "Lindsey Buckingham Christine McVie." Earlier this year, an anthology of her work, "Songbird," was released. In 2014 she talked with "Sunday Morning" correspondent John Blackstone about rejoining Fleetwood Mac after such a long separation: "I thought it was gonna be a struggle, to be honest. I was a little anxious. … But the moment you find yourself playing with these fantastic musicians and friends, it just melted away. And now I feel completely comfortable, really, surprisingly so." Irene Cara She recorded a Spanish-language album for Gema Records, "Esta Es Irene," when she was nine years old. The singer-actress Irene Cara (March 18, 1959-November 25, 2022) would go on to win an Oscar, two Grammys and a Golden Globe for her music for "Fame" and "Flashdance." Before her film success she appeared on Broadway in "Maggie Flynn," "The Me Nobody Knows," and "Got Tu Go Disco." She flew across the stage in the 1972 sci-fi musical "Via Galactica," which closed after seven performances, and was in the Public Theater's production of "Lotta, or The Best Thing Evolution's Ever Come Up With." Cara appeared on TV in "The Electric Company," "Love of Life," "What's Happening!!," and "Roots: The Next Generation." She starred in "Aaron Loves Angela" (Gordon Parks Jr's update of "Romeo and Juliet"), and at age 13 was cast as the lead of "Sparkle," a 1976 musical about a girl group co-starring Lonette McKee. In 1980's "Fame," Cara starred as Coco, a student attending New York's High School of Performing Arts. She performed the songs "Out Here on My Own," "Hot Lunch Jam," "I Sing the Body Electric," and the title tune, which became a Top 10 hit and an Oscar-winner for Best Original Song. She also earned a Golden Globe nomination for Best Actress in a Motion Picture/Comedy or Musical. For the 1983 film "Flashdance," Cara co-wrote and performed the title track, "Flashdance ... What A Feeling," which sat on top of the Billboard charts for six weeks. She shared the Academy Award for Best Original Song with Giorgio Moroder and Keith Forsey. She sang or composed songs for several features, from "D.C. Cab" to the animated "All Dogs Go to Heaven." For the Clint Eastwood/Burt Reynolds period comedy "City Heat," she recorded the George and Ira Gershwin ballad, "Embraceable You." Other albums included "Anyone Can See," "What a Feelin'," and "Carasmatic." In the 1990s she toured as Mary Magdalene in "Jesus Christ Superstar." Robert Clary French-born actor-singer Robert Clary (March 1, 1926-November 16, 2022) was best-known for playing Cpl. Louis LeBeau, part of a cohort of Allied prisoners of war engaging in sabotage under the noses of their Nazi captors, in the 1960s comedy "Hogan's Heroes." In 1965, when the show's pilot was being shot, Clary was offered the part of LeBeau without even having to audition. Though controversial, the show ran on CBS for six seasons. In 1985 a documentary, "Robert Clary, A5714: A Memoir of Liberation," told of his life and his ordeal in concentration camps. The youngest of 14 children, Clary (born Robert Widerman) was 16 when he and his family were forced from their Paris apartment into a crowded cattle car, transporting them to concentration camps. [A5714 referred to the identification number tattooed on his arm.] His parents and 10 siblings were killed under the Nazis, he said. He credited his youth and ability to work for keeping him alive for 31 months, until he was freed when American troops liberated the Buchenwald death camp. Returning to Paris and reunited with his two sisters, Clary worked as a singer and recording artist. He moved to the States in 1949, appearing in musicals (including "New Faces of 1952," "Irma La Douce" and "Cabaret"), TV ("Days of Our Lives" and "The Bold and the Beautiful"), and films ("The Hindenburg"). He also recorded jazz versions of songs by Ira Gershwin and Stephen Sondheim. In 1997, he was one of dozens of Holocaust survivors whose stories were told in "The Triumphant Spirit." In an interview that year he said, "I beg the next generation not to do what people have done for centuries - hate others because of their skin, shape of their eyes, or religious preference." In an Associated Press interview he criticized Holocaust deniers, "making a mockery of the 6 million Jews - including a million and a half children - who died in the gas chambers and ovens." He also published a memoir, "From the Holocaust to Hogan's Heroes: The Autobiography of Robert Clary," in 2001. In a 2018 interview with the Television Academy Foundation about his experience on "Hogan's Heroes," he said he had no trepidation about appearing in the prison camp comedy given his personal history. "No, because it had nothing to do with my past. I was never a soldier. I was never a prisoner of war. I was sent to a concentration camp and lucky I survived, which is completely different. We were not human beings. The only reason we lived [was] because they needed us to work in their factories. Otherwise they would have killed us all. "And, it was acting!" Aaron Carter Singer, rapper and actor Aaron Carter (December 7, 1987-November 5, 2022) began performing as a child, and at age nine released his first, eponymous album. It went gold, and was followed by three more albums during his teen years, including the triple-platinum "Aaron's Party (Come Get It)" (2000). His hits included "Crush on You," "Crazy Little Party Girl," and "I Want Candy." His fifth and final album was "LOVE" (2018). The younger brother of Nick Carter (of Backstreet Boys), Aaron performed as an opening act for his brother's group, and for Britney Spears. He also appeared as an actor in "Lizzie McGuire," "Family Affair," "Popstar" and "Supercross," and in the musical "Seussical" on Broadway. He finished in fifth place on "Dancing with the Stars" in 2009. Jerry Lee Lewis In 1957 two songs by "The Killer," Jerry Lee Lewis (September 29, 1935-October 28, 2022), burned up the airwaves, becoming Top 10 hits: "Whole Lot of Shakin' Going On" and "Great Balls of Fire," songs that showcased the Louisiana-born piano player's outrageous talent and energy – a force of nature inspired by sneaking into Black juke joints, and honed by his experience playing rockabilly, boogie-woogie and gospel. But in 1958 Lewis' career suffered from the scandal of marrying his second-cousin, Myra Gale Brown (who was 13 at the time), while he was still married to the second of his seven wives. His European tour was canceled, and he was blacklisted from the radio. Lewis then reinvented himself as a country artist, in the 1960s, with such hits as "Another Place, Another Time," "She Still Comes Around (to Love What's Left of Me)," "She Even Woke Me Up to Say Goodbye," "There Must Be More to Love Than This" and "Would You Take Another Chance on Me." In 1986, Lewis was among the inaugural class of inductees for the Rock & Roll Hall of Fame. In 2006, in his 70s, Lewis' longevity was marked by the release of "Last Man Standing," an album of duets featuring such stars as Bruce Springsteen, Mick Jagger, B.B. King, George Jones, Chuck Berry and Neil Young. Four years later he recorded another album of duets, "Mean Old Man," this time paired with Willie Nelson, Mavis Staples, Tim McGraw, Keith Richards and Sheryl Crow. In 2015's bestseller "Jerry Lee Lewis: His Own Story," he described to biographer Rick Bragg the importance, to him, of being a rock 'n' roll star: "The show, that's what counts. It covers up everything. Any bad thought anyone ever had about you goes away. 'Is that the one that married that girl? Well, forget about it, let me hear that song.' It takes their sorrow, and it takes mine." Julie Powell "My husband almost divorced me last night and it was all because of sauce tartar." In 2002 Julie Powell (April 20, 1973-October 26, 2022), a secretary and frustrated writer who was finding no success after moving to New York City, made it her mission to prepare every single recipe in Julia Child's classic 1961 cookbook, "Mastering the Art of French Cooking," over the course of a single year – cooking, chopping and stirring late into the night, making 11 to 12 dishes a week. The amateur cook talked to "CBS Evening News" in 2003 about her culinary journey: "Even though I am making myself crazy, it has introduced some sanity into my life," she said. Her husband Eric said there'd only been one real culinary disaster: the aspics. "All the aspics were just horrible," he said. Her blog, the Julie/Julia Project, was a hit, earning her an agent and a book deal. "Julie & Julia: 365 Days, 524 Recipes, 1 Tiny Apartment Kitchen," published in 2005, inspired the 2009 film, "Julie & Julia," which starred Amy Adams as Powell and Meryl Streep as Child. The film was a success, but when Powell had written to Child about her cooking project, the response she received was underwhelming. It didn't matter, she told CBS News in 2009: "Her disinterest didn't change how I felt about her. I don't love Julia Child because she loves me; I love her because she inspired me to change my life. ... I know how I feel about Julia, and that's what matters." Her favorite of Child's 524 recipes? Braised Cucumbers. "I'm so glad they made it into the movie, because I think they're a revelation!" Powell said. Pierre Soulages French abstract artist Pierre Soulages (December 24, 1919-October 26, 2022) became known as the "Master of Black," for bringing the mystery of darkness into the light. His paintings – big, bold, and overwhelmingly black – have commanded attention since he made a name for himself in 1950s New York, then emerging as the center of the modern art world. Back then, like American avant-garde artists Jackson Pollock and Mark Rothko, Soulages experimented with challenging abstract forms. He even used color. Then, one morning in 1979, when he and his wife Colette were living in Paris, he noticed how reflections transformed the surface of black paint. He'd found his medium, and began to experiment with sculpting black paint on the canvas. When asked by "CBS Sunday Morning" in 2020, on the occasion of his 100th birthday, why black still moved him, Soulages replied, "Because its possibilities are limitless. I say black, but actually it's light that's key. When I add black paint to a canvas, light reflects uniquely off the scar. That's what my work is all about. I paint with light." Leslie Jordan "Give me a good pandemic and I flourish," said comic actor Leslie Jordan (April 29, 1955-October 24, 2022). In 2022 he told "CBS Mornings" about adjusting to lockdown after staying with his mom in Tennessee. "I had a lot of time on my hands. And I started posting on Instagram. And I did two posts a day, I think, for 80 days. And I would always start it with, 'Well, how y'all doing?'" He'd get more than a million hits a day. Its success amazed even him: "I didn't try to sell anybody anything. I just talked about what are y'all doing? Here's what I'm doing. I cut my hair because I couldn't get to the barbershop. "I have people come up to me and say, 'You got me through that. I'm stuck at home with my kids, I thought I was going nuts, And I would look forward to just a minute or two with you every day.' And I think that's what comedy's about." Beginning at age 19, the 4'11" Jordan exercised racehorses. Put off by the travel involved, he enrolled in journalism classes at the University of Tennessee at Chattanooga, where he also signed up for a theater elective. "It just hit me like a drug," he said. After graduating, he headed to California, and got steady work in commercials. ("I was the elevator operator to Hamburger Hell for Taco Bell"), and eventually got acting roles in such TV series as "The Fall Guy," "Night Court," "Murphy Brown," "The People Next Door," "Pee-Wee's Playhouse," "Top of the Heap," "Reasonable Doubts," "Hearts Afire," "Caroline in the City," "Ally McBeal," "Boston Public," "Boston Legal," "American Horror Story," "The Cool Kids," and "Call Me Kat." Film roles included "The Help" and "The United States vs. Billie Holiday," His best-known character was Beverly Leslie in "Will & Grace," a recurring role for which he won an Emmy in 2006. In the 1990s he wrote and starred in a stage musical, the semi-autobiographical "Hysterical Blindness and Other Southern Tragedies That Have Plagued My Life Thus Far." In 2008 he published a memoir, "My Trip Down the Pink Carpet," his take on Hollywood, fame, addiction and gay culture. After blowing up his Instagram account during COVID, his career took a different turn when he released a gospel album called "Company's Comin'," featuring Dolly Parton, Brandi Carlile, Chris Stapleton, Eddie Vedder and Tanya Tucker. He recently wrote his second book, "How Y'all Doing?: Misadventures and Mischief from a Life Well Lived." Robbie Coltrane Born Anthony Robert McMillan, Robbie Coltrane (March 30, 1950-October 14, 2022) was in his early 20s when he began pursuing an acting career, renaming himself in honor of jazz musician John Coltrane. The Scottish comedian and character actor's early film credits included the musical "Absolute Beginners," the drama "Mona Lisa," and the caper "Nuns on the Run." He played Falstaff in the Kenneth Branagh-directed "Henry V," the Pope in the comedy "The Pope Must Diet," and a Russian crime boss in the James Bond films "GoldenEye" and "The World is Not Enough." Coltrane broke through as hard-bitten criminal psychologist Dr. Eddie "Fitz" Fitzgerald in the 1990s British TV series "Cracker," for which he won the best actor BAFTRA Award three years in a row. He was beloved by a generation as the half-giant Rubeus Hagrid, the mentor of young wizard Harry Potter, in all eight Potter films. He was the first actor to be cast for the original movie – hand-picked by author J.K., Rowling – and in 2002 told the Christian Science Monitor that he knew the story well. "I'd read it to my young son, Spencer," he said. "I did all the accents, even inventing a few of my own, when reading it, and must say I felt a certain kindred to Hagrid." The inspiration for his performance, he told The Daily Record in 2006, was an imposing, burly biker he'd once met, who'd entered a bar and complained about his petunias. "He was a gardener, but he had fists like hams. He had a gentle heart." To play Hagrid, the 6'1" Coltrane wore boots that made him at least seven inches taller, underwent an hour-and-a-half of makeup, and wore a costume that weighed 65 pounds. In an interview last January for an HBO Harry Potter reunion special, Coltrane said, "The legacy of the movies is that my children's generation will show them to their children. So, you could be watching it in 50 years' time, easily ... I'll not be here, sadly, but Hagrid will, yes." Bruce Sutter Six-time All-Star relief pitcher Bruce Sutter (January 8, 1953-October 13, 2022) was pitching for the Chicago Cubs' farm team in 1972 when he hurt his right elbow trying to learn a slider. Afraid he would be cut if the Cubs knew he'd been injured, Sutter hid the injury, and paid for the surgery on his pinched nerve himself. At spring training the following year, with the speed of his pitches off, he learned the split-fingered fastball from the Cubs' minor league pitching instructor Fred Martin. The pitch (the ball is held between the index and middle fingers, and as it approaches the plate suddenly dips) wasn't being successfully thrown. "It came to me easy, but it took a long time to learn how to control it," Sutter once said. "I could throw pretty hard. I might strike out 16 guys, but I might walk 10. I mean, I was wild." Sutter entered the majors with the Cubs in 1976. Three years later he won the National League Cy Young Award, with 37 saves, 2.22 ERA and 110 strikeouts. In a 1979 Sports Illustrated interview veteran batter Lou Brock had this assessment of Sutter's split-fingered fastball: "You'd figure that if a guy stayed around long enough, he'd learn how to hit it. But no one has." During his 12-year career Sutter led the National League in saves for five years, posting 300 saves with the Cubs, St. Louis Cardinals (he finished off the Cards' Game 7 win over Milwaukee in the 1982 World Series), and Atlanta Braves. In 661 games, he pitched 1,042 innings and struck out 861, with a career ERA of 2.83. In 2006 Sutter became only the fourth reliever to be inducted into baseball's Hall of Fame – and the first pitcher to reach Cooperstown without ever having started a game. Angela Lansbury Born in London to an Irish actress and an English timber merchant, Angela Lansbury (October 16, 1925-October 11, 2022) was forced at a young age to become self-reliant after the death of her father. She was sent by her mother to drama school, first in London, then, after the Blitz, to New York and, ultimately, Hollywood. By 17, she was in her first film, as the flirtatious, cockney maid in the 1944 classic, "Gaslight." Director George Cukor was "appalled" that a woman her age could pull off playing such a convincing seductress. '[You'd think] I'd been around the block, as they say," Lansbury told "CBS Sunday Morning" in 2009. "I hadn't, you know. I really hadn't!" But playing characters beyond her years would become the story of Lansbury's life. Despite back-to-back Oscar nominations (for "Gaslight" and "The Picture of Dorian Gray"), she spent her twenties and thirties typecast in older, more maternal roles – as an adulterous mother in "The World of Henry Orient"; Elvis Presley's mom in "Blue Hawaii" (despite being only nine years older than the singer); and Laurence Harvey's scheming mom in "The Manchurian Candidate," nabbing her third Oscar nomination for the political thriller in which she gives her son advice only a loving mother could give: "You are to shoot the presidential nominee through the head." She even had her hair streaked gray, at age 23, to play a newspaper publisher in her 40s in "State of the Union." Unsatisfied with Hollywood's lack of imagination, Lansbury packed her bags for the New York stage. "I felt liberated the minute I came to Broadway. Those years at MGM, I hadn't really been judged as an actress until I made it on Broadway." After roles in "Hotel Paradiso," "A Taste of Honey" and "Anyone Can Whistle," she hit pay dirt with the musical "Mame" (1966), winning the first of five Tony Awards. [Her others were for "Dear World" (1969); "Gypsy" (1975); "Sweeney Todd: The Demon Barber of Fleet Street" (1979), playing the meat pie maker Mrs. Lovett; and a 2009 revival of Noel Coward's "Blithe Spirit."] After playing Agatha Christie's Miss Marple in a film adaptation of "The Mirror Crack'd," and one of the murder suspects in "Death on the Nile," Lansbury found her greatest fame on "Murder, She Wrote" as mystery writer and amateur sleuth Jessica Fletcher. For twelve seasons (and in four subsequent movies-for-TV), she made an older female character – often invisible in media – a pop culture role model. She received 12 Emmy nominations for the series. She was a role model of a very different sort as the voice of the teapot Mrs. Potts in the animated Disney musical, "Beauty and the Beast." Lansbury later became a spokesperson for the ALS Association. (Amyotrophic lateral sclerosis had claimed the life of her sister, Isolde.) In 2014 she was made a Dame by Queen Elizabeth II, honored for her acting career and charity work. And she would continue working, on stage (she earned additional Tony nominations for the play "Deuce" and the Stephen Sondheim musical "A Little Night Music," as well as a lifetime achievement Tony in 2022) and in films ("Nanny McPhee," "Mr. Popper's Penguins," "Mary Poppins Returns," and, as herself, in "Glass Onion: A Knives Out Mystery"). "The bottom line is, I really don't know how to relax to the degree that I could just stop," Lansbury told "Sunday Morning." "So, when something comes along and is presented to me, and I think, 'Gee, I could have some fun doing that,' or 'I think I could bring something to that,' I'll do it. "I mean, there are times when you walk into that dressing room and you think, 'I can't do this. I cannot do this.' And it's a curious thing: When you sit down in front of that mirror and you pick up that first piece of makeup and you start to apply it … suddenly, you transform yourself into that person who is capable of going on stage and delivering that performance. And you do it, and yes, you can!" Loretta Lynn If you want to know the story of Loretta Lynn (April 14, 1932-October 4, 2022), listen to her songs. The country legend sang about a life of hardship, poverty, and her husband's infidelity – stories like "I'm a Honky Tonk Girl," "Don't Come Home a Drinkin' (With Lovin' on Your Mind)," "You Ain't Woman Enough," "What Makes Me Tick," and "Coal Miner's Daughter," whose title became the name of her bestselling 1976 autobiography. "It's whatever I was going through at the time, and whatever I was thinking about at the time," Lynn told "Sunday Morning" in 2010. And even as she rose to become a legend of American music – a three-time Grammy-winner, with 30 Top 10 country albums, and the first woman to win the Country Music Association's Entertainer of the Year Award, in 1972 – she never forgot her roots, as the second of eight children of a coal miner in Butcher Hollow, Kentucky. "I ain't about to be nobody else. I'm just me. And if I was trying to be somebody else, I'd have never made it, either," she said. When she was just 13, Loretta met 21-year-old Oliver Lynn, known as Doo. They married one month later. Lynn would have four children by the time she was 18. "I'd rock them to sleep. That's where Doo found out I could sing," she said. So, Doo bought her a guitar. Lynn taught herself to play, and began writing her own songs. Her kids were her audience. "I'd stand them up in a row: Betty, Jack, Ernest, and Cissie, 'Stand right there and tell mommy what you think of her singing.' 'Oh, you sound pretty, mommy.'" Doo arranged for Loretta to record her song "Honky Tonk Girl," and they hit the road to promote it. Lynn became an overnight success. But as she spent nights on the road in her tour bus, Doo stayed home drinking, womanizing, and hiring housekeepers to raise their now-six children. Their marriage lasted 48 years, until Doo's death in 1996. But as she told "48 Hours" in 2002, the two were regular sparring partners: "I've never written a song that my husband wasn't in – every song I wrote – but he didn't know which line he was in." She stayed, she said, because she loved him: "I didn't need him, but he was my kids' daddy. Why leave hearts laying on the floor for me? … He broke my heart lots of time, but that would have broke the kids' hearts, wouldn't it?" And she got some evocative songs out of it, like the #1 country hit "Fist City": Come on and tell me what you told my friends If you think you're brave enough And I'll show you what a real woman is Since you think you're hot stuff You'll bite off more than you can chew If you get too cute or witty You better move your feet If you don't wanna eat A meal that's called fist city Roger Welsch A humorist, storyteller and activist for Native Americans, Roger Welsch (November 6, 1936-September 30, 2022) was a longtime contributor to "CBS Sunday Morning" with his witty "Postcard from Nebraska" segments in the 1980s and '90s. Clad in his familiar overalls, Welsch told stories from his beloved state, including his hometown of Dannebrog, so small, he noted, the town square only has three sides. Welsch's segments developed after Charles Kuralt featured him in an "On the Road" segment about the Nebraskan's 1970s campaign for the Lancaster County Weed Control Authority, running on a "pro-weed" platform. Not marijuana, weeds – edible wild plants that were being sprayed with pesticides. His slogan: "If you can't beat 'em, eat 'em," He won. Welsch wrote dozens of books, penned newspaper columns, and proudly admitted to having founded the National Liars Hall of Fame, claiming nearly two million visitors a year in tiny Dannebrog. He also worked to reform the Nebraska State Historical Society after they refused to repatriate human remains of native peoples to the Pawnee Nation. In addition to the nickname "Captain Nebraska," Welsch also went by the names afforded him by indigenous tribes: Tenugahai "Bull Buffalo Chief" by the Omaha Tribe, Panitaka "White Wolfhite Pawnee" by the Pawnee Tribe, and Heyoka ta Pejuta "His Medicine is Contrary" by the Oglala Sioux. Coolio Born Artis Leon Ivey Jr., the rapper Coolio (August 1, 1963-September 28, 2022) garnered fame in the 1990s with such hits as "Gangsta's Paradise" (winner of the Grammy for best solo rap performance) and "Fantastic Voyage." Raised in California, he began rapping at 15. He went to community college and worked as a volunteer firefighter and in airport security before devoting himself full-time to hip-hop. He collaborated with WC and the Maad Circle, before releasing his debut album on Tommy Boy Records in 1994, "It Takes a Thief." The track "Fantastic Voyage" reached No. 3 on the Billboard Hot 100. The following year, "Gangsta's Paradise" hit No. 1. As I walk through the valley of the shadow of death I take a look at my life and realize there's not much left 'Cause I've been blastin' and laughin' so long, that Even my mama thinks that my mind is gone Later hits included "1, 2, 3, 4 (Sumpin' New)" and "C U When U Get There." Collio aimed to rise above the feud that arose between east and west coast hip-hop factions. "I'd like to claim this Grammy on behalf of the whole hip-hop nation, West Coast, East Coast, and worldwide, united we stand, divided we fall," he said from the stage as he accepted the award in 1996. But he engaged in a kind of feud with Weird Al Yankovic, who parodied "Gangsta's Paradise" with his hit, "Amish Paradise" ("As I walk through the valley where I harvest my grain, I take a look at my wife and realize she's very plain"). Though Coolio voiced his upset at the time, it was later attributed to a "misunderstanding." "I have to say, that was probably one of the least smart things I've done over the years," he later told Rolling Stone. "I should have never been upset about that; I should have embraced it like everybody else did. Michael Jackson never got mad at him; Prince never got mad at him. Who the f*** was I to take the position that I took? It was actually years later before I realized how stupid that was of me [laughs]. But hey, you live and you learn." Bill Plante CBS News correspondent Bill Plante (January 14, 1938-September 28, 2022) was one of the longest-serving White House broadcast journalists in history. During his more than half-century with CBS News, Plante covered the civil rights movement (the "Mississippi Burning" murders in 1964, and Dr. Martin Luther King Jr.'s historic march from Selma to Montgomery, Alabama, in March 1965), and served four tours in Vietnam. (He reported from Saigon during its fall.) He began his broadcasting career in 1956 at Chicago area radio stations, reading news and playing classical music. He then landed a job as assistant news director at the CBS affiliate in Milwaukee, before beginning a CBS Fellowship at Columbia University in New York. In his audition reel, his goals foreshadowed his long, varied career: "Politics, general assignment, writing, editing, reporting, air work, you name it, I'd like to do it," he said. He was named a CBS News correspondent in 1966, assigned to the Chicago bureau, where he covered riots, strikes, campus unrest, and the disappearance of Jimmy Hoffa. His overseas reporting includes stories on the war between India and Pakistan over Bangladesh, and conflict in Northern Ireland. Plante also covered 13 presidential elections, and joined CBS News' Washington bureau in December 1976. In addition to senior White House correspondent, Plante was also, from 1988 to 1995, the anchor of the "CBS Sunday Night News." He won several Emmy Awards, including for his reports on the 1997 death of Princess Diana; the 1986 Reagan-Gorbachev summit; and Reagan's 1984 reelection campaign. One of Washington's most knowledgeable wine aficionados, Plante became known as the White House press corps' sommelier. He reported on wine occasionally for the "CBS Early Show" and "CBS Sunday Morning." At his retirement in 2016, Plante said, "Fifty years plus, I have had a wonderful window, a closeup, on the human condition, telling the stories of civil rights and of the wastes of war and the politics of power. Through it all, you come to see how human nature is universal. People continue to behave in both altruistic and destructive ways. So that's why what we do continues to be so important." Louise Fletcher In the 1960s actress Louise Fletcher (July 22, 1934-September 23, 2022), who'd gotten work on TV series like "The Untouchables," "77 Sunset Strip," and "Wagon Train," put her career on hold to raise her two children. She came back in the '70s and, after a notable turn in Robert Altman's "Thieves Like Us," was chosen to star opposite Jack Nicholson in the tragi-comedy "One Flew Over the Cuckoo's Nest." Fletcher played the cruel and calculating Nurse Ratched, who rules over the mental institution to which Nicholson's Randle McMurphy is sent for evaluation. She engages in a cruel and violent battle of wills with McMurphy, and the other inmates, exerting her authority against his rebelliousness. Her performance – a rigid imperiousness coated with a frightening serenity – made her a villainess for the ages. In a 2004 interview Fletcher said she was the last actress considered for the role: "It wasn't until we were halfway through shooting that I realized the part had been offered to other actresses who didn't want to appear so horrible on the screen." "One Flew Over the Cuckoo's Nest" became only the second film ever to win Academy Awards for best picture, best director, best actor, best actress and best screenplay. At the 1976 ceremony, Fletcher accepted her Oscar and thanked her deaf parents in Birmingham, Alabama, using sign language: "I want to thank you for teaching me to have a dream. You are seeing my dream come true." Fletcher was later nominated for two Emmy Awards, for guest appearances on "Picket Fences" and "Joan of Arcadia." Other TV credits included "The Karen Carpenter Story." "The Boys of Twilight," "ER," "Shameless," and a recurring role on "Star Trek: Deep Space Nine." Her films included "Exorcist II: The Heretic," "The Cheap Detective," "The Magician of Lublin," "Strange Behavior," "Strange Invaders," "Brainstorm," "Firestarter," "Invaders from Mars," "The Boy Who Could Fly," "Blue Steel," "Cruel Intentions," and "A Perfect Man." Hilary Mantel Novelist Hilary Mantel (July 6, 1952-September 22, 2022) won the first of her two Booker Prizes for "Wolf Hall," a bloody 16th-century political drama featuring Thomas Cromwell and King Henry VIII. Translated to the stage and television, it launched a trilogy of books about Tudor intrigue that included "Bring Up the Bodies" (which also won the Booker Prize) and "The Mirror and the Light." Mantel's first novel, 1985's "Every Day Is Mother's Day," drew on her experience working as a social worker in a geriatric hospital. She returned to the characters with "Vacant Possession." She would regularly publish for nearly 25 years, earning critical praise but only modest commercial success, with such books as "Eight Months on Ghazzah Street" (inspired by her move with her geologist husband to Saudi Arabia), "Fludd," "A Place of Greater Safety" (about the French Revolution), "A Change of Climate" (about missionaries in Africa), "An Experiment in Love," "The Giant," and "Beyond Black" (about a psychic medium). She also published short story collections and a memoir, "Giving Up the Ghost." After a quarter-century, Mantel broke out with "Wolf Hall." In a 2020 interview with the Guardian, Mantel reflected on the appeal of writing historical fiction, or of figures long gone: "I do have the sense of it being a very proximate world," she said. "And sometimes the barrier seems like an enormous stone wall, and sometimes it's just whisper thin. But you can be misunderstood in talking about it. Because none of it can be literal. It's all just a series of metaphors." Irene Papas Greek actress and recording artist Irene Papas (September 3, 1929-September 14, 2022) became an international star with her roles in the films "The Guns of Navarone" and "Zorba the Greek." She appeared in more than 80 movies and TV programs, from classical tragedies ("Antigone," "Electra," "The Trojan Women," "Iphigenia") to Walt Disney family fare ("The Moon Spinners"). Among her films were "Tribute to a Bad Man," The Brotherhood," "Z," "Anne of the Thousand Days," "Christ Stopped at Eboli," "Mohammad, Messenger of God," "Chronicle of a Death Foretold," "Lion of the Desert," "Captain Corelli's Mandolin," and the miniseries "Moses the Lawgiver." Of her stage work she was particularly celebrated for Greek tragedies, appearing on Broadway in "Medea" and "The Bacchae." Her recordings included collaborations with Mikis Theodorakis, Aphrodite's Child, and one of that band's founding members, Vangelis. In 1992, starring in a production of "Medea" in Barcelona, Papas evoked the mystery of acting: "I don't know if I am living memory, or a ghost that encourages." Jean-Luc Godard French-Swiss filmmaker Jean-Luc Godard (December 3, 1930-September 13, 2022) was a lightning rod for film fans and critics since his emergence as a founding member of the French New Wave movement. The director of such classics as "Breathless" and "Weekend," and the recipient (though begrudgingly) of an Honorary Oscar from the Academy of Motion Picture Arts and Sciences, Godard's narrative tricks and his weaving of personal observations into his films would inspire younger generations of filmmakers, including Martin Scorsese, Brian de Palma and Quentin Tarantino. A contributor to the French film journal Cahiers du Cinema in the 1950s, Godard and several like-minded film buffs began making their own films, founding what came to be known as the French New Wave (Nouvelle Vogue) – works that reinvigorated staid, traditional forms of motion picture storytelling and eschewed the artifice of Hollywood. A fan of such giants as Alfred Hitchcock, Godard was an advocate of the "auteur" theory behind filmmaking, in which a single vision (usually the director's) aimed all facets of filmmaking through their personal lens. After making a documentary and several shorts, Godard directed his first feature, "Breathless (A Bout de Souffle)" (1960), a brisk, dark comedy shot on the streets with a handheld camera, starring Jean-Paul Belmondo as a petty thief and Jean Seberg as an American ex-pat. It was a hybrid of Continental and Hollywood styles that paid homage to Godard's hero Howard Hawks, while also reveling in an untethered narrative. The film became an international success – a breath of fresh cinematic air – and began a string of Godard movies that were more blatantly political, and more esoteric, than those of his contemporaries. As critic Roger Ebert noted, "Godard depends on us to do the heavy lifting." Typically shunning traditional forms of editing, composition and music, Godard would regularly break the fourth wall, using stylized dialogue and off-handed delivery, suggesting the actors were self-consciously aware of being in a film, watched by an audience. He experimented with video editing, sound editing, 3-D, and smearing colors. "In my opinion the cinema should be more poetic," Godard told Cahiers du Cinema in 1965. "Two or three years ago I felt that everything had been done [in film]. 'Ivan the Terrible' had been made, and 'Our Daily Bread.' Make films about people, they said; but 'The Crowd' had already been made, so why remake it? I was, in a word, pessimistic. After '[Pierrot le Fou],' I no longer feel this. Yes, one must film, talk about, everything. Everything remains to be done." Godard would direct more than 125 features, documentaries, shorts, and TV series, including the miniseries "History of Cinema." Credits include "Contempt," with Brigitte Bardot; several starring his then-wife, Anna Karina, such as "A Woman Is a Woman," "Vivre Sa Vie," "Le Petit Soldat," "Alphaville" (a sci-fi homage to film noir detective films), "Pierrot le Fou," "Band of Outsiders," and "Made in U.S.A."; "Masculin Féminin"; "2 or 3 Things I Know About Her," "La Chinoise"; "Weekend"; "Tout Va Bien," with Jane Fonda and Yves Montand; "Every Man for Himself" and "Passion," with Isabelle Huppert; "First Name: Carmen"; "Hail Mary"; "Detective"; "King Lear," featuring himself, Norman Mailer and Woody Allen; "Film Socialisme"; "Goodbye to Language"; and "The Image Book." In a 2002 poll of critics by the British Film Institute for Sight + Sound, Godard ranked #3 on the list of Top 10 Directors (behind Orson Welles and Alfred Hitchcock), but he did not fare as well among his peers — his name did not appear when the BFI polled directors on their choices for Top Ten. For "Sympathy for the Devil" (a documentary depicting American counterculture and revolutionary movements like the Black Panthers, interwoven with film taken of the Rolling Stones recording in the studio), the producer re-edited Godard's version, leaving the director so incensed he punched the producer in the nose in front of a London audience. Godard's reputation as an enfant terrible was not limited to what appeared on screen. In his early days he was something of a kleptomaniac with his family and colleagues; and when fellow filmmaker and longtime friend Agnes Varda visited his home in Rolle, Switzerland, while filming her 2017 documentary "Faces Places," Godard refused even to come to the door. Hurt, Varda left a note on his window glass ("No thanks for your bad hospitality"), but, she admitted, "I drew a heart anyway." Queen Elizabeth II Since ascending to the throne in 1952 at the age of 25, Queen Elizabeth II (April 21, 1926-September 8, 2022) was Great Britain's longest-reigning monarch, her rule marking years of change in the U.K. and throughout the British Empire following World War II. Her endurance as a stoic symbol of heritage and tradition, even as her country underwent enormous social upheavals, made her the most significant figure in British culture, a huge unifying symbol across generations, and a beloved matriarch far beyond the Empire's shifting boundaries. The eldest daughter of George VI (who'd become king following the abdication of his older brother, Edward VIII), Elizabeth Alexandra Mary Windsor worked to raise her country's morale during wartime, and volunteered as a mechanic in the women's auxiliary service. She married Philip Mountbatten, a member of the Greek royal family, and gave birth to four children — Charles, Anne, Andrew and Edward. After her father's death, Elizabeth's sense of duty became her primary image to the world. "I declare before you all that my whole life, whether it be long or short, shall be devoted to your service," she told the nation. But the course of the British monarchy over the past seven decades would be a rocky one. In contrast to her steadfast union with Prince Philip, the marriages of her sister Margaret, her daughter Anne, and her sons Charles and Andrew all ended in divorces. The queen's lowest point was the death in 1997 of Princess Diana, following her tabloid-fodder separation from Charles, when the monarch's reputation for being unflappable stood in stark contrast to the public's very demonstrative show of emotion and grief. After days of public silence, Elizabeth addressed the nation on television: "What I say to you now, as your Queen and as a grandmother, I say from my heart. First, I want to pay tribute to Diana myself. She was an exceptional and gifted human being. In good times and bad, she never lost her capacity to smile and laugh, nor to inspire others with her warmth and kindness. I admired and respected her — for her energy and commitment to others, and especially for her devotion to her two boys." During Diana's funeral procession, the queen offered a bow to her coffin — a notably significant departure from royal protocol. The queen would make gradual accommodations to the times and to the changing expectations of a less-deferential British public, for example agreeing to pay taxes on her income after complaints about the costs of repairing a fire-damaged Windsor Castle. She also helped guide the maturation of her grandchildren, Prince William and Prince Harry, after Diana's death. When Prince Charles remarried Camilla Parker Bowles, the queen hosted the reception, and in time made her preference known that once Charles succeeded her as king, Camilla should be honored with the title Queen Consort. Bernard Shaw Bernard Shaw (May 22, 1940-September 7, 2022), who became the first anchor of the fledgling CNN upon its launch in 1980, would cover such stories as the assassination attempt on President Ronald Reagan, student demonstrations in Beijing's Tiananmen Square, the first Gulf War in 1991, and the 2000 presidential election. Born in Chicago, Shaw was a U.S. Marine in Hawaii in 1961, when he managed to secure a meeting with one of his journalistic heroes, Walter Cronkite, who later described Shaw to the Washington Post as "the most persistent guy I've ever met in my life … I was going to give him five begrudging minutes, and ended up talking to him for a half-hour. He was just determined to be a journalist." Shaw got a radio job as a reporter in Chicago, where he interviewed Dr. Martin Luther King Jr. He worked as a political reporter at CBS during the Watergate years, and was later ABC's Latin America correspondent and bureau chief. He was one of the first reporters on the scene of the 1978 Jonestown massacre in Guyana. At CNN, the first 24-hour news channel, Shaw anchored the network's on-the-scene reporting from Baghdad as airstrikes marked the beginning of the U.S. invasion to liberate Kuwait. "In all of the years of preparing to being anchor, one of the things I strove for was to be able to control my emotions in the midst of hell breaking out," Shaw told NPR in 2014. "And I personally feel that I passed my stringent test for that in Baghdad." In 1988 Shaw was the first African American to moderate a presidential debate. When Shaw asked Democrat Michael Dukakis – who opposed the death penalty – whether he would condone capital punishment if his own wife had been raped and killed, Dukakis' cool, legalistic response was deemed fatally damaging to his candidacy. Shaw himself was criticized for even asking it. "Since when did a question hurt a politician?" Shaw said in a 2001 CSPAN interview. "It wasn't the question. It was the answer." Peter Straub Bestselling horror writer and poet Peter Straub (March 2, 1943-September 4, 2022) was best known for his lyrical novels that helped revive the supernatural genre, namely "Ghost Story" and "Julia," and for his collaborations with Stephen King: "The Talisman" and its sequel, "Black House." A Milwaukee native, Straub almost died when he was hit by a car at age seven. He told Salon in 2016, "It took me a long time to see this, but of course it kind of darkened my view of life in general. It meant that I was way more open to fear than any child ought to be, and that I knew more about fear and its first cousin terror, and pain, than children are normally expected to know. And it meant that I was kind of pushed forward into an emotional understanding that I wasn't quite prepared for. "It was very, very complex. I had nightmares; my behavior suffered. I darkened in character; I was less amenable, less friendly. I was way less a child than I had been beforehand. It took me a long time to understand the consequences of that single event. Once I did understand the consequences then I was far more able to deal with them. It meant also that I had that material available for conscious thematic use." Straub taught at a private school before moving with his wife to Ireland, where he studied for his doctorate. Instead of a dissertation, though, he wrote a novel, "Marriages." But after publishing poetry, he tried for more commercial success by writing about the supernatural (given the popularity of "Rosemary's Baby" and "The Exorcist"). "Julia," about a mother whose child had died and is haunted by the ghost of another, was a success, and was turned into a film starring Mia Farrow, "The Haunting of Julia." Straub continued writing about fantasy, horror, murder and the supernatural, with "If You Could See Me Now," "Ghost Story" (which became a 1981 film with John Houseman and Fred Astaire), "Shadowland," "Floating Dragon," "Koko," "Mystery," "The Throat," "The Hellfire Club," "Mr. X," "Lost Boy, Lost Girl," "In the Night Room," and "Dark Matter." He also published several novellas and short story collections. (Neil Gaiman once likened Straub's short fiction to "tiny novels you drown in.") He also edited the Library of America's volume of H.P. Lovecraft tales. In 1998 he told Locus Magazine, "A recent novella I wrote for 'Murder For Revenge,' an Otto Penzler anthology, 'Mr. Clubb and Mr. Cuff', is based very loosely on 'Bartleby the Scrivener' by Melville. I reread 'Bartleby' when it came out in one of those 'Penguin 60s' that also included my 'Blue Rose', and to say I was impressed and moved is drastically to understate. I thought it was one of the most beautiful, most profound things I'd ever read. It also addressed and spoke to an interest of mine which could loosely be called 'indeterminacy.' That is, what you know to be part of the greatness of 'Bartleby' is that it's very difficult to describe in any terms but its own. You cannot reduce it to an equation. You cannot extract a comforting little moral from it. It's hard to say exactly what it means, but it is completely profound." Barbara Ehrenreich A prolific writer of articles for The Nation, The New York Times, Harper's, Vogue and others, activist Barbara Ehrenreich (August 26, 1941-September 1, 2022) was a teacher and researcher (she received a Ph.D. from Rockefeller University). She became more involved in the feminist movement following the birth of her daughter, Rosa, she explained, as she was appalled by her hospital's treatment of patients. She authored or co-authored 23 books, her most famous being 2001's "Nickel and Dimed: On (Not) Getting By in America," in which she recounted taking on minimum-wage jobs (such as a hotel maid, waitress, cleaning woman, and Wal-Mart sales clerk), and moving into cheap lodging, to find out firsthand about the lives and struggles of the working poor – people she dubbed "the major philanthropists of our society." She wrote, "They neglect their own children so that the children of others will be cared for; they live in substandard housing so that other homes will be shiny and perfect; they endure privation so that inflation will be low and stock prices high. To be a member of the working poor is to be an anonymous donor, a nameless benefactor, to everyone else." Other books included "Long March, Short Spring: The Student Uprising at Home and Abroad" (written with her then-husband, John Ehrenreich); "Fear of Falling: The Inner Life of the Middle Class"; "The Worst Years of Our Lives: Irreverent Notes from a Decade of Greed"; "This Land is Their Land: Reports from a Divided Nation"; "Blood Rites: Origins and History of the Passions of War"; "Living with a Wild God: A Nonbeliever's Search for the Truth about Everything"; and "Natural Causes: An Epidemic of Wellness, the Certainty of Dying, and Killing Ourselves to Live Longer." In 2011 Ehrenreich, who'd gone through a grueling bout with breast cancer, talked with "Sunday Morning" correspondent Rita Braver about her resistance to the notion of "positive thinking" being a determinant of one's experience, which she characterized as, "If things don't go well, if you get sick, or if you lose your job, or fall into poverty, it must be your fault because you weren't sending the right thoughts out into the universe." "Well, what's wrong with that attitude? A lot of people have it," said Braver. "It's wrong because it's not true!" Ehrenreich laughed. In her book "Bright-Sided," she argued that the relentless promotion of positive thinking has undermined America. "Is the alternative to positive thinking to be negative or pessimistic or fatalistic?" asked Braver. "The alternative is to try to see the world as it is more. Realism, I would call that," she replied. Mikhail Gorbachev Mikhail Gorbachev (March 2, 1931-August 30, 2022) was the last president of the U.S.S.R., whose efforts to revitalize his country's lagging economy and to advance a staid communist bureaucracy through the introduction of "glasnost" (openness) led to the fall of the Iron Curtain, the breakup of the Soviet Union, and an end to the Cold War. He survived an attempted coup in August 1991, but in a matter of months, after more and more Soviet republics declared their independence, he resigned on December 25, 1991. The next day, the Soviet Union ceased to exist. During his short tenure (he had risen to become Soviet leader in March 1985), Gorbachev sought reforms freeing political prisoners, expanding the ability of citizens to travel and engage in open debate, and ending religious persecution. He established closer ties with the West, holding summits with leaders such as American Presidents Ronald Reagan and George H.W. Bush, and moved to reduce nuclear arsenals, while watching Eastern European satellite states pull away from Moscow's influence. He also oversaw the USSR's ignominious withdrawal from Afghanistan, and initially called Western reports about the effects of the 1986 Chernobyl nuclear accident an "unbridled anti-Soviet campaign." But the freedoms he promoted became synonymous to many of his countrymen with chaos, as long-suppressed ethnic tensions flared. There were uprisings and wars in the southern Caucasus and Baltic republics. Many seniors lost their life savings because of hyper-inflation. Price increases led to shortages, bread lines, factory shutdowns, and strikes. "I see myself as a man who started the reforms that were necessary for the country and for Europe and the world," Gorbachev told the Associated Press in 1992. "I am often asked, would I have started it all again if I had to repeat it? Yes, indeed. And with more persistence and determination." Gorbachev received numerous accolades, including the 1990 Nobel Peace Prize. But his global popularity was not matched back home, where he was blamed for the Soviet Union's collapse, and for the economic turmoil that followed. When he ran for president in 1996, he received less than 1% of the vote. In his address to the nation upon stepping down from office, Gorbachev reflected, "The process of renovating this country and bringing about fundamental changes in the international community proved to be much more complex than originally anticipated. However, let us acknowledge what has been achieved so far. Society has acquired freedom; it has been freed politically and spiritually. And this is the most important achievement, which we have not fully come to grips with in part because we still have not learned how to use our freedom." Wolfgang Petersen German filmmaker Wolfgang Petersen (March 14, 1941-August 12, 2022) burst onto the international scene with his 1981 drama "Das Boot," one of the most compelling war films ever made, which perfectly captured the claustrophobia facing a German submarine crew during the Battle of the Atlantic in World War II. What was then the most expensive movie in German film history, "Das Boot" would be nominated for six Academy Awards (including two for Petersen, for direction and screenwriting). It would launch Petersen (who'd worked extensively in German television, but who grew up enamored by the films of John Ford) towards a Hollywood career, starting with the 1984 children's fantasy "The NeverEnding Story." He later directed the Clint Eastwood Secret Service drama "In the Line of Fire"; the Harrison Ford thriller "Air Force One"; the George Clooney disaster film "The Perfect Storm"; and the historical epic "Troy," starring Brad Pitt. Other credits include "Enemy Mine," "Shattered," "Outbreak," and "Poseidon." His last film, which he shot back in Germany, was the comedy "Four vs. the Bank." In 2016 he talked with German broadcaster Deutsche Welle about his fascination with American films while growing up: "It has very much to do with the situation in Germany after the war. We didn't learn about the situation under the Nazis. My parents never really talked about that. And for a kid at the age of 10 or 12, you want an answer. I had the feeling that everything in my world and in Germany around that time was unclear. There was no moral there; there was no understanding of why things happened. "In these films, there was clarity – especially in Westerns – about what is good and what is bad and about what you have to fight against and why. Clarity is important for a boy, and it was missing from the world around us." Anne Heche Actress Anne Heche (May 25, 1969-August 11, 2022) first gained notice on the NBC soap "Another World," in which she played twins Marley and Vicky Hudson, for which she won a Daytime Emmy Award. Her subsequent film career included roles opposite Johnny Depp in "Donnie Brasco," Tommy Lee Jones in "Volcano," Harrison Ford in "Six Days, Seven Nights," and Vince Vaughn and Joaquin Phoenix in "Return to Paradise." One of her best performances was as a White House aide opposite media spin doctor Robert De Niro in the 1997 political satire "Wag the Dog." Other credits included "Walking and Talking," "I Know What You Did Last Summer," the color shot-for-shot remake of "Psycho," "John Q," "Birth," "Cedar Rapids" and "Wild Card." On TV she starred in the comedy series "Men in Trees," "Save Me," "Dig," "Aftermath," "The Brave," and "The Idol," and appeared in "Ally McBeal," "Hung," "The Michael J. Fox Show," "Chicago P.D.," and "All Rise." In 2020 she was a contestant on "Dancing With the Stars." In her candid 2001 memoir "Call Me Crazy," Heche recounted her peripatetic and oppressive childhood (her family moved nearly a dozen times), and years of sexual abuse by her father. She began acting at age 12 at a N.J. dinner theater to earn money for her family after her father died of complications from AIDS. The following year her 23-year-old brother died by suicide. At 17 she began therapy for having experienced "a lot of death, and a lot of abuse and homelessness," she told the Associated Press. "I went through eight years of trying to be at peace with who I was and what had happened to me as a child." In her book she described developing a separate personality due to her suffering. In 1997 she began a relationship with comedian Ellen Degeneres, making them one of Hollywood's first openly-gay couples. (They would be together for three years.) But Heche said it affected her professionally – she claimed the studio threatened her if she brought Degeneres to the "Volcano" premiere afterparty, and that it was Ford's support that kept her from being fired from the rom-com "Six Days, Seven Nights." As media outlets tut-tutted over "how to deal with a gay actress whose career has been built on playing heterosexual roles," Heche claimed to be blacklisted from studio pictures. She continued to work on TV, and on Broadway (in "Proof" and "Twentieth Century"). Heche's mental health issues would also become fodder for the media, as when she had a public breakdown following the end of her relationship with Degeneres. She would go on to have two children, one with husband Coleman Laffoon (whom she divorced in 2009), and one with actor James Tupper. In 2020 Heche was asked by the magazine Mr. Warburton what advice she would share with a young up-and-comer struggling with insecurity or finding their true self: "Risk is the key. Be yourself. Be brave. Also, the longer I have been in the business, the more I know that everyone pretends to know more than they do. So don't be intimidated!" Bill Pitman A member of the elite cadre of Los Angeles session musicians known as the "Wrecking Crew," guitarist Bill Pitman (February 12, 1920-August 11, 2022) played on hundreds of recordings for such artists as Mel Torme, Buddy Rich, Frank Sinatra, The Mamas & the Papas, The Everly Brothers, The Ronettes, Elvis Presley, Jan & Dean, The Monkees, Sam Cooke, James Brown, The Carpenters, and The Beach Boys. A New Jersey native (his father was a bass player for NBC in New York), Pitman went West after serving in World War II, to study at the Los Angeles Conservatory of Music and Arts. His session work would lead him to producer Phil Spector (to whom, years earlier, he'd given guitar lessons) and to countless pop and rock songs that helped define the era. He performed on hundreds of recordings (in one year alone he played in 425 recording sessions), such as The Beach Boys' "Pet Sounds" album (including "Wouldn't It Be Nice"), Frank Sinatra's "Strangers In The Night," The Byrds' "Mr. Tambourine Man," and Barbra Streisand's "The Way We Were." He also played on TV and movie soundtracks (from "MASH" to "Bonanza" and "Star Trek"). Though his performances were often anonymous, they were nonetheless memorable, whether he was wielding a Daneletro six-string bass guitar (on the theme for the TV series "The Wild, Wild West"), or a ukulele (on the Oscar-winning song from "Butch Cassidy and the Sundance Kid," "Raindrops Keep Fallin' on My Head"). Olivia Newton-John Four-time Grammy Award-winning singer Olivia Newton-John (September 26, 1948-August 8, 2022) sold 100 million albums in a career that stretched from radio to the movie screen and Las Vegas, while radiating courage and grace in her years-long battle against cancer. Born in England, the daughter of a German literature professor and granddaughter of a Nobel Prize-winning physicist, Newton-John's family moved to Australia when she was 5, but she returned to England in her teens to live with her mother after her parents split. She won singing contests, and recorded her first single, "Till You Say You'll Be Mine," in 1966. From the early 1970s, Newton-John had 14 Top 10 singles in the U.S., beginning with several hits on the Adult Contemporary and Country charts (including "If Not For You" and "Let Me Be There," which climbed into the Billboard Top 10). In 1973 she was named the Country Music Association's top artist (beating out Dolly Parton and Loretta Lynn), but her music became more associated with the pop genre. She hit #1 with "I Honestly Love You" and "Have You Never Been Mellow." In 1978 she starred with John Travolta in the film version of the musical "Grease," which featured their #1 duets, "You're the One That I Want" and "Summer Nights," as well as the #2 hit, "Hopelessly Devoted To You." In 1980 she starred in the film "Xanadu," from which the song "Magic" also hit #1. The following year she topped the charts again with "Physical," which sat at #1 for 10 weeks and was named song of the year by Billboard, despite its being banned by some radio stations due to its somewhat provocative lyrics. Her music video for the song won a Grammy for best video. At age 43, Newton-John felt a lump during a breast self-examination. She was diagnosed with cancer on the same day her father died. "I had a daughter, I had a child to care about," she told "CBS Sunday Morning" in 2019. "And that was my focus. You know, 'I've gotta get through this for her.'" Declared cancer-free after chemotherapy, she became an activist and philanthropist, serving as a goodwill ambassador for the United Nations Environment Programme, and founding the Olivia Newton-John Cancer Wellness & Research Centre in Melbourne in 2012. And she continued to perform. Newton-John's later albums included "Stronger Than Before" (2005); the 2012 holiday album "This Christmas" (in which she re-teamed with Travolta); and 2015's "Summer Nights: Live in Las Vegas," which grew out of her three-year-long residency on the Strip. But her cancer returned in 2013. "Why me? has never been a part of it," she said. "I never felt victimized." She chose instead to deal with it. The cancer went into remission, but in 2017 it returned. In 2019, she penned an autobiography, "Don't Stop Believin'," and auctioned off hundreds of items from her collection, raising more than $2 million for her cancer center. One of the items sold: her skintight black leather pants from "Grease," which – she proved to "Sunday Morning" in 2019 – still fit her. In talking about "Grease" to The Telegraph in 2017, she recalled: "Everything about making the film was fun, but if I had to pick a favorite moment, it was the transformation from what I call Sandy 1 to Sandy 2. I got to play a different character and wear different clothes, and when I put on that tight black outfit to sing 'You're the One That I Want,' I got a very different reaction from the guys on the set." David McCullough A familiar voice in television documentaries, historian David McCullough (July 7, 1933-August 7, 2022) won two Pulitzer Prizes for his biographies of presidents: the 1992 book "Truman," and the 2001 "John Adams," which became the basis of the HBO miniseries that won 13 Emmy Awards. He also authored books on Theodore Roosevelt and Franklin Delano Roosevelt. But McCullough's expertise went beyond the White House. He wrote books on the Johnstown Flood, the Brooklyn Bridge, the building of the Panama Canal, the Revolutionary War, and the settling of the American West. He narrated documentaries on PBS' "American Experience," and series by Ken Burns (such as "The Civil War," "The Statue of Liberty" and "Brooklyn Bridge"). He also narrated the 2003 film "Seabiscuit," the real-life story of the racehorse that defied everyone's worst expectations. He received the Presidential Medal of Freedom in 2006. In a 2017 interview on CBS' "Face the Nation," in describing how the nation was living in "clearly a dangerous time," McCullough discussed how America needed to learn the lessons of how it overcame a civil war, the 1918 influenza epidemic and the Great Depression, as well as winning two world wars. "I think we need to remember who we are and how we got to be where we are and how much we owe to those who went before us," McCullough said. "And there's much to be learned from them, much to be learned from history. We are not doing very well or not doing as well as we should in raising our oncoming generations with an appreciation of the story of their country." In addition to advocating for better teaching of history, McCullough was also active in historical preservation efforts, including, in the 1990s, fighting the Walt Disney Company's proposed theme park near Manassas National Battlefield Park in Virginia. The theme park plans were shelved. For all of his writings about the successes and failures of America's past, and of its leaders (and despite his criticism of the 45th president's time in office as "disappointing" and "grotesque"), McCullough was an optimist about our country. He told "Sunday Morning" in 2019, "We're just getting started. That's the way I feel. Two hundred years is nothing!" Dr. Raymond Damadian In the late 1960s, Dr. Raymond Damadian (March 16, 1936-August 3, 2022) began experimenting at a Brooklyn medical center with nuclear magnetic resonance spectroscopy – hitting tissue with radio wave pulses within a magnetic field. When he discovered in 1970 that it provided a feasible means to detect cancerous cells in rats, he published his findings, which lead to his construction of the first MRI (magnetic resonance imaging) scanner. The very first scan, in a machine he called "Indomitable," was conducted on July 3, 1977, on one of his assistants, he being skinny enough, after an earlier scan on Damadian failed. "I was just too fat for the coil," he told Inc. Magazine in 2011. Damadian then founded a company, Fondar, to produce a commercial version of the scanner. He was immediately embroiled in legal tussles over infringement of his patents when competing companies tried to market their own MRI scanners; Damadian lost some fights, won others (including a 1997 judgment against General Electric for $128 million). Fonar would later introduce an upright MRI scanner. Damadian would receive the National Medal of Technology and be inducted into the National Inventors Hall of Fame. But when the 2003 Nobel Prize was awarded to two other scientists for the development of magnetic resonance imaging, Damadian launched a campaign to right what he characterized a "shameful wrong." Melissa Bank The 1999 New York Times bestseller "The Girls' Guide to Hunting and Fishing," the first book by writer Melissa Bank (October 11, 1960-August 2, 2022), was a collection of seven interconnected stories about a young woman, Jane Rosenal, who ages from 14 to her 30s. It became a tremendous critical and commercial success, selling more than 1.5 million copies, and was translated into dozens of languages. Bank, a Cornell University masters' graduate and copywriter for an ad firm, won a short-story competition in 1993. The "Girls' Guide" title story was published in 1998 in the magazine Zoetrope, prompting a bidding war for a collection. But it would take Bank 12 years to complete "Girls' Guide," her work interrupted by a bicycle accident from which she suffered short-term memory loss and an inability to remember words. Upon the collection's publication, Bank was praised for her "exquisite portraits of loneliness," and for her wit and precise language, inspired by such writers as Vladimir Nabokov, John Cheever and Ernest Hemingway. Two stories from "Girls' Guide" were adapted for the 2007 romcom "Suburban Girl." She also authored the story collection "The Wonder Spot," and taught in the MFA program at Stony Brook University in Southampton, New York. In a 1999 interview with Salon.com, Bank said she was initially intimidated by other writers' voices: "Remarkably, I felt really freed when I got to college. At a certain point I had this breakthrough – I was really blocked, and I started saying this thing to myself: 'You're the only person who can write this story.' And that signaled more confidence in my voice. I stopped trying to write like other writers, all of whom were male, and just learned to be myself on the page." Bank said she didn't set out to create in Jane an Everywoman: "I wanted a true character, but I didn't think, 'Oh, here's somebody everyone can relate to'; I wasn't thinking about an audience. You get somebody right by getting all of the little, tiny things right. Somehow that's how you wind up at anything universal." Vin Scully "Hi, everybody, and a very pleasant good evening to you wherever you may be." He was the longest tenured broadcaster with a single team in pro sports history, a gracious commentator and storyteller, and a true fan of the game, even when his beloved Dodgers were behind. Vin Scully (November 29, 1927-August 2, 2022) began in the 1950s with the Brooklyn Dodgers, when the "Bums" fielded such stars as Jackie Robinson and Pee Wee Reese, and followed the team to Los Angeles, announcing the exploits of such legends as Sandy Koufax, Don Drysdale, Steve Garvey and Don Sutton. And while the team changed rosters and managers many times over, Scully was in the announcing booth as the Voice of the Dodgers for nearly seven decades, including for six World Series championships. Born in the Bronx, Scully's family moved to Brooklyn following the death of his father. It was there he played stickball and listened to sports on the radio. He eventually broadcast games for the Fordham University radio station. Hired by the CBS radio affiliate in Washington, D.C. at age 22, Scully was soon picked by announcer Red Barber to sit in the Brooklyn Dodgers' broadcast booth, making his debut on Opening Day in 1950. He stayed with the team for 67 seasons. During his tenure, he called 18 no-hitters and three perfect games. He was at the mic in 1974 in Atlanta when the Braves' Hank Aaron hit a home run off Dodger Al Downing to break Babe Ruth's all-time record. "A Black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol," Scully told his audience. "What a marvelous moment for baseball." In addition to being the voice of the Dodgers, Scully called play-by-play for CBS and NBC for 25 World Series and 12 All-Star Games. He also called NFL games and PGA Tour events. Scully was inducted into the Baseball Hall of Fame in 1982, and in 2010 the American Sportscasters Association voted Scully "the greatest sportscaster of the 20th century." In 2016 he received the Presidential Medal of Freedom. It was in 2016 that the redhead who started with the Brooklyn Dodgers at 23 retired, just shy of his 89th birthday. Scully told "Sunday Morning" in 2020 that in retirement he could enjoy watching baseball purely as a fan. "I don't watch it critically," he said. "I'm not listening really to what the announcers say: 'Are they trying to steal my stuff?' You know, I have none of that!" That same year he auctioned off decades of sports memorabilia, raising more than $2 million, part of which was donated to UCLA for ALS research. He said he did not regret parting with any of his collection, from his Babe Ruth autograph to his 1988 World Series ring. "I would much rather treasure the memories," Scully told the Associated Press. Bill Russell "Today, we lost a giant," former President Barack Obama said of the loss of NBA legend Bill Russell (February 12, 1934-July 31, 2022). "On the court, he was the greatest champion in basketball history. Off of it, he was a civil rights trailblazer." Russell was born in the segregated South and moved to Oakland, California, as a child. As a star player at the University of San Francisco, he led the team to two NCAA championships in 1955 and 1956, and then took home a gold medal from the Melbourne Olympics in 1956. Then he launched a legendary NBA career with the Boston Celtics, racking up a record 11 NBA championships while being named MVP five times and an all-star 12 times. After a decade with the Celtics, Russell took on the role of player-coach — the first Black head coach in NBA history — leading the team to titles in 1968 and '69. Through it all, Russell stood tall for civil rights and social justice. He was at the March on Washington in 1963, when Martin Luther King Jr. gave his "I Have a Dream" speech, backed Muhammad Ali when the boxer was sidelined for refusing the draft, and refused to be cowed by racist taunts during his playing days in Boston. "Bill stood for something much bigger than sports: the values of equality, respect and inclusion that he stamped into the DNA of our league," NBA Commissioner Adam Silver wrote. Nichelle Nichols From her iconic role on "Star Trek" to her real-life role recruiting for NASA, Nichelle Nichols (December 28, 1932-July 30, 2022) was a groundbreaker on multiple fronts. As Lt. Nyota Uhura, Nichols was one of the first Black actresses to star in a primetime TV show, and she and "Star Trek" made history with television's first interracial kiss in 1968. In 2015 Nichols, participating in a Reddit "Ask Me Anything" chat, said that she had been ready to leave the show after the first season, after being offered a role on Broadway. But she was convinced to stay by Dr. Martin Luther King Jr., who told her, "Nichelle, whether you like it or not, you have become a symbol. If you leave, they can replace you with a blonde-haired white girl, and it will be like you were never there. What you've accomplished, for all of us, will only be real if you stay." "That got me thinking about how it would look for fans of color around the country if they saw me leave," she wrote. "I saw that this was bigger than just me." She stayed for the original series' three seasons, and returned for six theatrical features. "She was the third-highest ranking member in the space command," civil rights attorney Ben Crump, an executive producer of the documentary "Women in Motion: Nichelle Nichols, Star Trek and the Remaking of NASA," told "CBS Saturday Morning" in 2021. "I mean, you talk about every little Black boy and girl running to the TV to say, 'Hello that's a Black woman, and she's in charge?'" The head of NASA took note of her impact and hired Nichols to travel the country to recruit women and people of color for the space program. Mourning her loss, Nichols' "Star Trek" costar George Takei tweeted, "my heart is heavy, my eyes shining like the stars you now rest among, my dearest friend." Tony Dow The role of Wally Cleaver on TV's "Leave It to Beaver" shaped the life of actor Tony Dow (April 13, 1945-July 27, 2022) for years to come. Dow was 12 years old when he started playing the older brother to Theodore "Beaver" Cleaver (Jerry Mathers) on the hit series that would quickly come to represent an idealized paradigm of mid-century American family life. The show ran from 1957 to 1963, and aired for decades afterwards in reruns. Dow reprised his role in a reunion movie and TV series in the 1980s. But as he told CBS News' Jim Axelrod in a 2021 interview, it felt "sad to be famous at 12 years old or something, and then you grow up and become a real person, and nothing's happening for you." Depression, he said, is "a very powerful thing. And it's had a lot of effect on my life." Dow found another creative outlet in art, which became his passion later in life. He credited his work as a sculptor — combined with medication and therapy — for helping him getting a handle on his depression. In a 2012 interview with the Associated Press, Dow laughed when he recounted the day he decided it was time to take the leap from acting to sculpting. He was up for a role in a TV show and a 28-year-old executive asked, "Have you ever done comedy before," recalled Dow, co-star of one of the most classic TV comedies in history. "Well, I sort of looked at him and I thought, `Hmmm, maybe it is time for me to retire. Maybe it is time to take the art seriously."' James Lovelock British scientist James Lovelock (July 26, 1919-July 26, 2022) popularized the concept of Gaia – that the Earth is a self-regulated living organism – and helped reshape thinking about the environment. A chemist and inventor who worked as a consultant for NASA's Jet Propulsion Laboratory and Shell, his ideas helped define what is now referred to as the "Lovelock test," when searching for chemical signs of life on other planets by studying their spectra. In the 1970s Lovelock and microbiologist Lynn Margulis wrote of our planet as a synergistic body that self-regulates itself – the earth, the oceans and the atmosphere, as well as all living organisms on it. Named after the Greek deity, the holistic Gaia concept was described in journal articles that would form the basis of Lovelock's 1979 book, "Gaia: A New Look at Life on Earth." The Gaia concept would both inspire new studies in earth sciences and environmental activism (including warnings about the effects of man's contributions to climate change), and criticism for being "unscientific" and attributing causation or purpose to its existence. In a 2021 article for the Guardian, Lovelock warned of "genocidal acts" – the proliferation of man-made greenhouse gases, and the clearcutting of rainforests – that have caused changes on a scale not seen in millions of years. "My fellow humans must learn to live in partnership with the Earth, otherwise the rest of creation will, as part of Gaia, unconsciously move the Earth to a new state in which humans may no longer be welcome," he wrote. "The virus, COVID-19, may well have been one negative feedback. Gaia will try harder next time with something even nastier." Paul Sorvino In an acting career that spanned half a century, Paul Sorvino (April 13, 1939-July 25, 2022) made an indelible impact on screen, whether portraying a gangster or a cop, a communist or a statesman, a leading man or a comic character. Born in Brooklyn, Sorvino trained in music and theater, making his Broadway debut in 1964 before Carl Reiner cast him in his first film role in "Where's Poppa?" More movies followed, including "The Panic in Needle Park" with Al Pacino, "The Gambler" with James Caan, "Oh, God!," "The Day of the Dolphin," "Bloodbrothers," "That Championship Season," Warren Beatty's "Reds" and "Dick Tracy," and Oliver Stone's "Nixon," playing Henry Kissinger. TV roles included "Bert D'Angelo/Superstar" (a spinoff from his appearance on "The Streets of San Francisco"), "Law & Order" (as NYPD sergeant Phil Cerreta), "Chiefs," "The Oldest Rookie," and "That's Life." His best-known role was as mobster Paulie Cicero in Martin Scorsese's "Goodfellas." His early dream of being an opera singer was thwarted by asthma, but later in life he starred in a New York City opera production of "The Most Happy Fella." He also appeared in the 2008 film "Repo! The Genetic Opera." He also had three children who followed him into the entertainment business, including the Oscar-winning actress Mira Sorvino, with whom he costarred in six films. In a 1992 interview with Charlie Rose, Sorvino spoke of being drawn to performing as a moth is to flame: "If you ask me to weep, I will weep for you. I will not fake it. I won't put glycerin in my eyes. I will find the place in me that causes me to weep." But for "Goodfellas," he admitted to Rose he had difficulty finding the emotional basis for crime boss Paulie Cicero, and spoke movingly about his personal quest as an actor: "When you ask me to express a certain lethality, to limn the unconscious of a murderer, a killer, a person who could kiss his grandchild and order your death in the next breath, I don't know what that is … When I took the role, I took it expressing to everyone that I knew exactly what to do when I knew nothing of how to do it. … "I kept talking to myself for two months, day in and day out, looking for the place that would justify this lethality, this coldness and yet maintain a warm side, because just a coldness, that's an automaton. That's one-dimensional, a person who's killed himself off. Paulie Cicero had not killed himself off, but a certain part of him was absolutely dead – cold and dead. And I found that. And when I found that, I scared myself with it. It frightened the hell out of me, because I didn't suspect it, even in me. I did not suspect it was part of my building blocks. And one day I was crossing a mirror as I'd been working on it, I literally was jolted. I saw a dead look in my eyes. I said, 'Now I know the role.'" Diana Kennedy Chef and cookbook author Diana Kennedy (March 3, 1923-July 24, 2022) would become known as "the Julia Child of Mexican Cuisine," inspiring others such as José Andrés and Rick Bayless. Born Diana Southwood in Britain, she studied culinary arts and collected recipes wherever she traveled. After moving to Mexico in the late 1950s (she soon married a New York Times foreign correspondent, Paul Kennedy), she became an authority on local cuisines and techniques, interviewing home cooks and researching local ingredients. She would later teach classes in traditional Mexican cooking. Her nine books included "The Cuisines of Mexico" (1972), "The Tortilla Book" (1975), "Nothing Fancy: Recipes and Recollections of Soul-Satisfying Food" (1984), "My Mexico" (1998), and "From My Mexican Kitchen - Techniques and Ingredients" (2003). She received the James Beard Cookbook Hall of Fame Award in 2014. In a 2019 New York Times interview, Kennedy defended her reputation for being at time "prickly" with editors. "For God's sake, I'm not trying to win a popularity contest, I'm a cook!" she said. "There's far too much mediocrity in this world, and someone's got to say something." David Warner He played evil itself in the fantasy "Time Bandits," not to mention an evil computer program in "Tron," Jack the Ripper in "Time After Time," a Klingon in "Star Trek VI: The Undiscovered Country," and a sinister henchman in "Titanic." David Warner (July 29, 1941-July 24, 2022) was one of the most dynamic actors of his generation. With numerous memorable appearances in films and TV, he won an Emmy Award as a Roman senator in the 1981 miniseries "Masada." A student of the Royal Academy of Dramatic Arts in London (two of his fellow classmates were John Hurt and Ian McShane), Warner told The AV Club in 2017 that he had fallen into acting by default: "Academically I was hopeless, and athletically I was hopeless. In my Wikipedia entry, it says I had a messy childhood, and that's the truth! But I sort of drifted into the odd school play, and that was one thing that I kind of felt that I had some enthusiasm for." A member of the Royal Shakespeare Company, Warner has played Henry VI, Richard II, Hamlet and King Lear, as well as roles in "Julius Caesar," "Twelfth Nigh
6840	dbpedia	3	38	https://www.brooklynmuseum.org/opencollection/objects/1356	en	Brooklyn Museum	https://d38j47429xlmat.c…09803624B11E.png		[ "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2/67.205.2_framed_PS22.jpg", "https://s3.amazonaws.com/brooklynmuseum.org-public/common/ask-logo.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/visit/images/bloomberg_philanthropies.jpg", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/730DA90F-4C82-43A9-B755-09803624B11E.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/C896A6F9-5422-4FBE-AB6F-172F997F76F1.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/620C7219-7B54-498B-8886-9930A63196FE.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/fee37bd5-776d-474e-b516-724b77854c51-29658838.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/4B325797-071D-40B9-97AE-1D8E371A0737.png", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size1/67.205.2_framed_PS22.jpg", "https://www.brooklynmuseum.org/images/icons/scale/bicycle_blue_192px.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/common/ask-logo.png", "https://s3.amazonaws.com/brooklynmuseum.org-public/visit/images/bloomberg_philanthropies.jpg", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/730DA90F-4C82-43A9-B755-09803624B11E.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/C896A6F9-5422-4FBE-AB6F-172F997F76F1.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/620C7219-7B54-498B-8886-9930A63196FE.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/fee37bd5-776d-474e-b516-724b77854c51-29658838.png", "https://d38j47429xlmat.cloudfront.net/mobile-uploads/4B325797-071D-40B9-97AE-1D8E371A0737.png", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2/67.205.2_framed_PS22.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.511_PS1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.518_PS6.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.521_acetate_bw.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.522_PS2.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.523_bw.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.530_SL3.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.11.533.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/11.549_transp6061.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/12.85_SL1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/12.91.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/12.92_PS20.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/21.107_SL3.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/39.608_SL1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.59a_PS9.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.60_PS22.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.339_PS20.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.340_PS9.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.342_SL1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.907_SL1.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/41.5.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/52.16_PS2.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/65.148_acetate_bw.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/33.274_PS9.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.16_front_PS9.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/40.91_PS11.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/43.128.152_acetate_bw.jpg", "https://d1lfxha3ugu3d4.cloudfront.net/images/opencollection/objects/size2_sq/CUR.48.104.jpg", "https://pixel.quantserve.com/pixel/p-y5mypH32-BCHc.gif?labels=_fp.event.Default", "https://www.facebook.com/tr?id=1108941815895258&ev=PageView &noscript=1" ]	[]	[]	[ "" ]	null	[]	null		en	apple-touch-icon.png		null	The label mentions the rise of outdoor leisure time pursuits around 1845. Why the sudden interest in nature? Due to the rise in industrialization and the gradual population shift to cities, people became more and more interested in outdoor leisure activities that returned them to a more natural setting. Painters like Thomas Cole were interested in showing the American landscape as pristine and beautiful. Picnics were one way that humans could coexist with this natural world. Is this by Thomas Cole? Yes, it is Thomas Cole! You're a true friend of the Hudson River School. The central figure playing guitar is thought to be painted in tribute to Cole's late friend Cornelius Ver Bryck, who passed away two years earlier. Cole paid special attention to the composition, with figures radiating out from that central figure at easily understood intervals. He took great care in the objects strewn about the scene (the cooler, dishes, food etc.). The goal was that these items would reveal themselves slowly to a viewer and be rewarding for multiple views. This was a time in American culture when outdoor leisure was becoming very popular, and Cole's choice of a subject reflects that interest. Can you tell me about this painting? Thomas Cole was a leading member of the group of landscape painters who came to be known as the Hudson River School. In this work, he shows us a world of outdoor leisure as an escape from the rapidly industrialized and urbanized world of the mid-nineteenth century. In that time, this kind of landscape was seen as a restful place that offers a spiritually elevating experience. We also know that Cole painted this work on commission for a New York banker and art collector named James Brown. What a pretty scene! We think so too! This was painted at a time when more and more people who lived in New York City were visiting the countryside to enjoy fun activities like picnics. This artist, Thomas Cole, was painting an idealized version of what life was really like in 1846! The landscape is still free from development and the weather is perfect, and everyone is enjoying the day in harmony from children to couples. Cole included lots of little details so that every time you look at the painting you can find something new. Do you see the people in the rowboat on the water? Who is this man with the guitar? It's thought that the man playing guitar is a tribute to the artist's friend Cornelius Ver Bryck. Bryck passed away two years before Thomas Cole painted this work. This was a way of remembering him. The label mentions the rise of outdoor leisure time pursuits around 1845. Why the sudden interest in nature? Due to the rise in industrialization and the gradual population shift to cities, people became more and more interested in outdoor leisure activities that returned them to a more natural setting. Painters like Thomas Cole were interested in showing the American landscape as pristine and beautiful. Picnics were one way that humans could coexist with this natural world. Is this by Thomas Cole? Yes, it is Thomas Cole! You're a true friend of the Hudson River School. The central figure playing guitar is thought to be painted in tribute to Cole's late friend Cornelius Ver Bryck, who passed away two years earlier. Cole paid special attention to the composition, with figures radiating out from that central figure at easily understood intervals. He took great care in the objects strewn about the scene (the cooler, dishes, food etc.). The goal was that these items would reveal themselves slowly to a viewer and be rewarding for multiple views. This was a time in American culture when outdoor leisure was becoming very popular, and Cole's choice of a subject reflects that interest. Can you tell me about this painting? Thomas Cole was a leading member of the group of landscape painters who came to be known as the Hudson River School. In this work, he shows us a world of outdoor leisure as an escape from the rapidly industrialized and urbanized world of the mid-nineteenth century. In that time, this kind of landscape was seen as a restful place that offers a spiritually elevating experience. We also know that Cole painted this work on commission for a New York banker and art collector named James Brown. What a pretty scene! We think so too! This was painted at a time when more and more people who lived in New York City were visiting the countryside to enjoy fun activities like picnics. This artist, Thomas Cole, was painting an idealized version of what life was really like in 1846! The landscape is still free from development and the weather is perfect, and everyone is enjoying the day in harmony from children to couples. Cole included lots of little details so that every time you look at the painting you can find something new. Do you see the people in the rowboat on the water? Who is this man with the guitar? It's thought that the man playing guitar is a tribute to the artist's friend Cornelius Ver Bryck. Bryck passed away two years before Thomas Cole painted this work. This was a way of remembering him.
6840	dbpedia	1	60	https://www.gutenberg.org/ebooks/45744.html.images	en	CATALOGUE OF THE GALLERY OF ART OF THE NEW YORK HISTORICAL SOCIETY	https://www.gutenberg.or…cover.medium.jpg	https://www.gutenberg.or…cover.medium.jpg	[ "https://www.gutenberg.org/ebooks/images/illus053.jpg", "https://www.gutenberg.org/ebooks/images/illus069.jpg", "https://www.gutenberg.org/ebooks/images/illus073.jpg", "https://www.gutenberg.org/ebooks/images/illus077.jpg", "https://www.gutenberg.org/ebooks/images/illus081.jpg", "https://www.gutenberg.org/ebooks/images/illus085.jpg", "https://www.gutenberg.org/ebooks/images/illus089.jpg", "https://www.gutenberg.org/ebooks/images/illus093.jpg", "https://www.gutenberg.org/ebooks/images/illus099.jpg", "https://www.gutenberg.org/ebooks/images/illus103.jpg", "https://www.gutenberg.org/ebooks/images/illus107.jpg", "https://www.gutenberg.org/ebooks/images/illus111.jpg", "https://www.gutenberg.org/ebooks/images/illus115.jpg", "https://www.gutenberg.org/ebooks/images/illus123.jpg", "https://www.gutenberg.org/ebooks/images/illus129.jpg", "https://www.gutenberg.org/ebooks/images/illus133.jpg", "https://www.gutenberg.org/ebooks/images/illus145.jpg", "https://www.gutenberg.org/ebooks/images/illus161.jpg" ]	[]	[]	[ "" ]	null	[ "New-York Historical Society" ]	2014-05-24T00:00:00		en	images/cover.jpg		https://www.gutenberg.org/ebooks/45744/pg45744-images.html	The Project Gutenberg eBook of Catalogue of the Gallery of Art of The New York Historical Society This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Catalogue of the Gallery of Art of The New York Historical Society Author: New-York Historical Society Release date: May 24, 2014 [eBook #45744] Language: English Credits: Produced by Richard Tonsing, Juliet Sutherland and the Online Distributed Proofreading Team at http://www.pgdp.net * START OF THE PROJECT GUTENBERG EBOOK CATALOGUE OF THE GALLERY OF ART OF THE NEW YORK HISTORICAL SOCIETY * [Pg v] OFFICERS OF THE SOCIETY PRESIDENT, JOHN ABEEL WEEKES. FIRST VICE-PRESIDENT, WILLIAM MILLIGAN SLOANE. SECOND VICE-PRESIDENT, WALTER LISPENARD SUYDAM. THIRD VICE-PRESIDENT, GERARD BEEKMAN. FOURTH VICE-PRESIDENT, FRANCIS ROBERT SCHELL. FOREIGN CORRESPONDING SECRETARY, ARCHER MILTON HUNTINGTON. DOMESTIC CORRESPONDING SECRETARY, JAMES BENEDICT. RECORDING SECRETARY, FANCHER NICOLL. TREASURER, FREDERIC DELANO WEEKES. LIBRARIAN, ROBERT HENDRE KELBY. [Pg vi] EXECUTIVE COMMITTEE FIRST CLASS—FOR ONE YEAR, ENDING 1916. ACOSTA NICHOLS, STANLEY W. DEXTER, FREDERICK TREVOR HILL. SECOND CLASS—FOR TWO YEARS, ENDING 1917. FREDERIC DELANO WEEKES, PAUL R. TOWNE, R. HORACE GALLATIN. THIRD CLASS—FOR THREE YEARS, ENDING 1918. RICHARD HENRY GREENE, JAMES BENEDICT, ARCHER M. HUNTINGTON. FOURTH CLASS—FOR FOUR YEARS, ENDING 1919. BENJAMIN W. B. BROWN, J. ARCHIBALD MURRAY. JAMES BENEDICT, Chairman. ROBERT H. KELBY, Secretary. [The President, Vice-Presidents, Recording Secretary, Treasurer, and Librarian are members of the Executive Committee.] [Pg vii] PREFACE This catalogue describes the paintings in the Gallery of Art of The New York Historical Society, with two hundred and eighty-six miniatures, comprising the Marié Collection and seventy-six objects of Sculpture. The New York Gallery of Fine Arts, presented to the Society in 1858, with paintings donated to the Society at various times, are numbered 1 to 488 inclusive. Any notice of this collection would be deficient which should fail to commemorate the name of Luman Reed, Patron of American Art. In this connection the Society was chiefly indebted to the liberality and cordial coöperation of one of their most valued members, who was himself the chief promoter of the original design of the New York Gallery of Fine Arts, Mr. Jonathan Sturges. The Bryan Collection, presented to the Society in 1867 by the late Thomas J. Bryan, numbers three hundred and eighty-one paintings and are designated by the letter B. before each number. The Durr Collection, presented to the Society in 1882 by the executors of the late Louis Durr, numbers, with subsequent additions, one hundred and eighty-one paintings, which are designated by the letter D. before each number. Short biographical sketches of deceased artists represented in the above collections have been added, together with indexes to Artists, portraits and donors. The Marié Collection of miniatures is arranged alphabetically by subjects and is not included in the index of portraits. [Pg viii] [Pg ix] CONTENTS ILLUSTRATIONS THE NEW YORK GALLERY OF FINE ARTS AND REED COLLECTION WITH PAINTINGS DONATED TO THE GALLERY OF THE SOCIETY [Pg 2] LUMAN REED Luman Reed was born in Green River, Columbia County, N. Y., in 1785, and died in 1836. He removed when a boy to Coxsackie, N. Y., where he was educated in an ordinary school at the expense of an uncle. Later he was employed in a country store and subsequently became the partner and brother-in-law of his employer. He made frequent trips to New York City on a sloop called the "Shakespeare," belonging to the firm, selling produce of the farms around Coxsackie and purchasing goods in New York for his country store. Later he became a merchant in New York and between the years 1815 and 1832 he gained a fortune. It was then that he began to gratify other instincts and art attracted his attention. He became the patron of American Art and sought the acquaintance of artists, interesting himself in their labors, giving them many commissions for work. Mr. Reed lived at 13 Greenwich Street, this city, the third story of which building he used as a picture gallery, to which visitors were admitted one day each week. This room was also a meeting place for the artists and literary men of the time. The paintings after Mr. Reed's death were purchased by his friends and subsequently constituted the New York Gallery of Fine Arts which, after an uncertain existence of about twelve years, was forced to close its affairs. Eighty of these paintings, presented in 1858, are now in the possession of this Society and known as the New York Gallery of Fine Arts. The death of Mr. Reed was greatly lamented by the artists of his time and his name has come down to this generation as the Patron of American Art. [Pg 3] CATALOGUE OF THE GALLERY OF ART NO. SUBJECTS OF PAINTINGS. ARTISTS. 1-5. The Course of Empire. Thomas Cole. A series of five pictures, illustrating a nation's rise, progress, greatness, decline, and fall, and the consequent changes in the same landscape. Note.—The isolated rock, crowning a precipitous hill, in the distance, identifies the scenes in each of the series; but the observer's position varies in the several pictures. (Reed Collection.) (New York Gallery of Fine Arts.) [FIRST OF THE SERIES.] 1. The "Savage State," or "Commencement of Empire." (61½X39.) The sun is rising from the sea, over a wild scene of rocks, forests, and mountains, dissipating the clouds and darkness of night. Man, attired in skins, is seen engaged in the wild dance and the chase—the characteristic occupations of the savage life. In the picture, we have the first rudiments of society. Men have banded together for mutual aid. The useful arts have commenced in the construction of the canoe, the weapon, and the hut; and we may imagine the germs of two of the fine arts, music and poetry, in the singing usually accompanying the dance of the savage. The empire is asserted, to a limited extent, over sea, land, and the animal kingdom. It is the season of Spring—the morning of the nation's existence. [SECOND OF THE SERIES.] 2. "The Arcadian," or "Pastoral State." (62½X39.) Ages have passed; a change has been wrought in the scene—man has subjugated "the untracked and rude." We now see the shepherd and his flocks; the ploughman upturning the soil, and the wafting sail; by the shore a village, and on the hill the ascending smoke of sacrifice. In this picture we have agriculture, commerce, and religion. In the aged man describing the mathematical figure, the rude attempt of the boy in drawing; in the female figure with the distaff, the vessel on the stocks; in the primitive temple, and the dance of the peasants to the music of the pipe, we have evidence of the advance made in science, in the useful and the fine arts. It is early Summer, and the sun has ascended midway to the [Pg 4]meridian. [THIRD OF THE SERIES.] 3. "The Consummation of Empire." (75X50½.) The rude village has become a magnificent city. From the bay—now a capacious harbor, with phari at the entrance, and thronged with war-galleys, and barks with silken sails—ascend piles of architecture, temples, domes, and colonnades. The massive bridge, the streets and squares, lined with palaces and adorned with statuary, clustered columns, and sparkling fountains, are crowded with gorgeous pageants and triumphal processions. It is a day of triumph—man has conquered man—nations have been subjugated. By wealth and power, knowledge, art, and taste, man has achieved the summit of human grandeur. The sun is near the meridian. [FOURTH OF THE SERIES.] 4. "Destruction." (62½X38½.) Ages have passed away since the scene of glory. Luxury has enervated, vice has debased, and the strength of the mighty nation has consumed away. A barbarous enemy sacks the city. The heavens are darkened by a tempest, and the storm of war rages beneath, amid falling walls and colonnades, and the flames of temples and palaces. [FIFTH OF THE SERIES.] 5. "Desolation." (61X39½.) The moon ascends the twilight sky, near where the sun rose in the first picture. The last rays of the departed sun illumine a lonely column of the once proud city, on whose capital the heron has built her nest. The shades of evening steal over shattered and ivy-grown ruins. The steep promontory, with its insulated rock, still rears against the sky, unmoved, unchanged; but violence and time have crumbled the works of man, and art is again resolving into elemental nature. The gorgeous pageant has passed; the roar of battle has ceased; the multitude has sunk in the dust; the empire is extinct. 6. Portrait of John Adams, (1735-1826.) (25X30.) A. B. Durand. From the original by Stuart. (Reed Collection.) (New York Gallery of Fine Arts.) 7. Portrait of John Quincy Adams, (1767-1848.) (25X30.) A. B. Durand. Taken from life, in 1834. (Reed Collection.) [Pg 5] (New York Gallery of Fine Arts.) 8. Portrait of James Monroe, (1758-1831.) (25X30.) A. B. Durand. From the original by Stuart. (Reed Collection.) (New York Gallery of Fine Arts.) 9. Portrait of Thomas Jefferson, (1743-1826.) (25X30.) A. B. Durand. From the original by Stuart. (Reed Collection.) (New York Gallery of Fine Arts.) 10. Portrait of James Madison, (1751-1836.) (25X30.) A. B. Durand. From the original, by Stuart, at Bowdoin College, Maine. (Reed Collection.) (New York Gallery of Fine Arts.) 11. Portrait of Andrew Jackson, (1767-1845.) (25X30.) A. B. Durand. Painted from life, in 1835. (Reed Collection.) (New York Gallery of Fine Arts.) 12. The Chess-Players—Check Mate. (56X44.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 13. Marine View. (36X25.) Thomas Birch. (Reed Collection.) (New York Gallery of Fine Arts.) 14. View from Froster Hill, Gloucestershire, England. (24X18.) Andrew Richardson. (Reed Collection.) (New York Gallery of Fine Arts.) 15. The Goblet and Lemon. (27X32.) W. Van Aelst. (Reed Collection.) (New York Gallery of Fine Arts.) 16. Falstaff enacting Henry IV. (29X36.) George W. Flagg. Prince Henry.—Do thou stand for my father, and examine me upon the particulars of my life. Falstaff.—Shall I? Content:—this chair shall be my state, this dagger my sceptre, and this cushion my crown. King Henry IV., Part i., Act ii., Scene 4. (Reed Collection.) [Pg 6] (New York Gallery of Fine Arts.) 17. An Allegory—Death and Immortality—Antique. (18½X14½.) Italian School. (Reed Collection.) (New York Gallery of Fine Arts.) 18. Madonna and Infant. (16½X22½.) German School. (Reed Collection.) (New York Gallery of Fine Arts.) 19. Landscape—Composition—Italian Scenery.(54X37.) Thomas Cole. Rogers' Italy. (Reed Collection.) (New York Gallery of Fine Arts.) 20. Sleeping Female. (19X24.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 21. The Little Savoyard. (18X22.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 22. Rebecca. (16X20.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 23. The Truant Gamblers. (30X24.) William S. Mount. (Reed Collection.) (New York Gallery of Fine Arts.) 24. Interior—Dutch Apothecary Shop.(24½X18.) Roelof Pietersz. (Reed Collection.) (New York Gallery of Fine Arts.) 25. Pan and Midas. (24X28.) Hubert Goltzius. (Reed Collection.) (New York Gallery of Fine Arts.) 26. The Pedlar displaying his Wares. (34X24.) A. B. Durand. (Reed Collection.) (New York Gallery of Fine Arts.) 27. The Woodchopper's Boy. (25X30.) George W. Flagg. (Reed Collection.) [Pg 7] (New York Gallery of Fine Arts.) 28. Wrath of Peter Stuyvesant on learning the capture, by treachery, of Fort Casimir. (30X24.) A. B. Durand. "On receiving these direful tidings, the valiant Peter started from his seat—dashed the pipe he was smoking against the back of the chimney—thrust a prodigious quid of tobacco into his left cheek—pulled up his galligaskins, and strode up and down the room, humming, as was customary with him when in a passion, a hideous northwest ditty."—Knickerbocker's New York, Book vi. chap. 2. (Reed Collection.) (New York Gallery of Fine Arts.) 29. Madonna, Infant, and St. Ann. (29X28.) Italian School. (Reed Collection.) (New York Gallery of Fine Arts.) 30. The Match-Girl, (London.) (25X30.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 31. Moonlight. (32X24½.) Thomas Cole. (Reed Collection.) (New York Gallery of Fine Arts.) 32. Portrait of George Washington, (1732-1799.) (25X30.) A. B. Durand. From the standard original, by Stuart, in the gallery of the Boston Athenæum. (Reed Collection.) (New York Gallery of Fine Arts.) 33. Lady and Parrot. (29X36.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 34. The Nun. (24X30.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 35. Wreath of Flowers, encircling Coat-of-Arms and Miniature of the Duke of Austria, 1658. (33X46.) J. Marrel. (Reed Collection.) [Pg 8] (New York Gallery of Fine Arts.) 36. Lady Jane Grey preparing for execution. (45X56.) George W. Flagg. "After uttering these words, she caused herself to be disrobed by her women; and with a steady, serene countenance submitted herself to the executioner."—Hume, chap. xxxvi. (Reed Collection.) (New York Gallery of Fine Arts.) 37. Assumption of the Virgin. (25X19.) Annibale Caracci. (Reed Collection.) (New York Gallery of Fine Arts.) 38. Portrait of Martha Washington, (1732-1802.) (22X26.) A. B. Durand. From the original, by Stuart, in the Boston Athenæum. (Reed Collection.) (New York Gallery of Fine Arts.) 39. Portrait of a Young Lady, taken in 1608. (27X33.) Flemish School. (Reed Collection.) (New York Gallery of Fine Arts.) 40. The Huntsman's Tent—Game and Dogs after a Hunt, (50X64.) John Fyt. (Reed Collection.) (New York Gallery of Fine Arts.) 41. Mother Child, and Butterfly. (24X30.) George W. Flagg. (Reed Collection.) (New York Gallery of Fine Arts.) 42. Autumn Scene—Conway Peak, White Mountains, N. H. (19½X14.) Thomas Cole. (Reed Collection.) (New York Gallery of Fine Arts.) 43. Dogs Fighting. (20½X16.) George Morland. (Reed Collection.) (New York Gallery of Fine Arts.) 44. View on Catskill Creek. (24X16.) Thomas Cole. (Reed Collection.) (New York Gallery of Fine Arts.) 45. Landscape. (13X10.) Dutch School. (Reed Collection.) [Pg 9] (New York Gallery of Fine Arts.) 46. Summer Sunset. (19½X14.) Thomas Cole. (Reed Collection.) (New York Gallery of Fine Arts.) 47. Old English Sportsman. (24X19.) George Morland. (Reed Collection.) (New York Gallery of Fine Arts.) 48. Murder of the Princes. (44X56.) George W. Flagg. ENTER TYRRELL. (Reed Collection.) (New York Gallery of Fine Arts.) 49. Miniature. (3X2½.) Dutch Enamel. A. B. Durand. (Reed Collection.) (New York Gallery of Fine Arts.) 50. Boors Gambling. (10X7.) After Teniers. (Reed Collection.) (New York Gallery of Fine Arts.) 51. Wreath of Flowers, encircling Holy Family—Antique. (11X12.) Italian School. (Reed Collection.) (New York Gallery of Fine Arts.) 52. The Old Fiddler. (10X8.) After Teniers. (Reed Collection.) (New York Gallery of Fine Arts.) 53. Miniature. (3½X2½.) Dutch Enamel. Italian School. (Reed Collection.) (New York Gallery of Fine Arts.) 54. A Magdalen. (18X14.) After Correggio. (Reed Collection.) [Pg 10] (New York Gallery of Fine Arts.) 55. View near Bridgeport, Connecticut. (19X13.) Andrew Richardson. (Reed Collection.) (New York Gallery of Fine Arts.) 56. Portrait of Luman Reed, (1785-1836.) (25X30.) A. B. Durand. Patron of American Art. Presented by the Artist. (New York Gallery of Fine Arts.) 57. The Fortune-Teller. (52X42.) William S. Mount. The figures in this picture are portraits of Mrs. Amelia Longbotham, as fortune-teller, and the young girl, Edna Bostwick. Presented by the Artist. (New York Gallery of Fine Arts.) 58. Landscape. (36X26.) C. P. Cranch. (New York Gallery of Fine Arts.) 59. Bargaining for a Horse. (30X24.) William S. Mount. "Seth suspended for a moment the whittling his twig, and there seemed a crisis in the argument—a silent pause—when a shrill voice from the front gate adjourned the meeting instanter. It was the voice of Aunt Nabby herself, breathing authority and hospitality:—Joshua, come to dinner, and bring the folks along with you."—Jack Downing's Jour., N. Y. Gazette, Oct. 28, 1835. (New York Gallery of Fine Arts.) 60. Portrait of Sir Charles L. Eastlake, Artist, (1793-1865.) (44X56.) Daniel Huntington. (New York Gallery of Fine Arts.) 61. Flora. (17½X22½) Jean Raoux. Presented by S. M. Chester. (New York Gallery of Fine Arts.) 62. The Vale and Temple of Segestae, Sicily. (65½X44.) Thomas Cole. "Midway between Palermo and Segestae, the broad slopes of an ample valley lie before the traveller. In the depth is a river meandering among fragrant oleanders; on the left the valley is intersected by a range of distant mountains; on the right is a beautiful bay of the Mediterranean. Across the valley, the mountains form a green amphitheatre, and high in a remote part is seen the Temple of Segestae."—Notes of the Artist made on a Tour in Sicily. Presented by the Artist. [Pg 11] (New York Gallery of Fine Arts.) 63. A Venetian Senator. (25X30.) Cornelius Ver Bryck. (New York Gallery of Fine Arts.) 64. The Black Plume. (29X36.) Charles C. Ingham. Presented by the Artist. (New York Gallery of Fine Arts.) 65. Portrait of Lafayette, (1757-1834.) (25X30.) Charles C. Ingham. Painted from life in 1825, and is the original head from which was made the full-length portrait for the State, now in the State Department, Albany. Presented by the Artist. (New York Gallery of Fine Arts.) 66. Landscape, Moonlight. (37X25.) Tempesta. From the collection of Cardinal Fesch. Presented by Miss Eliza Hicks. (New York Gallery of Fine Arts.) 67. The Young Gourmand. (11X13.) Frederick W. Philip. (New York Gallery of Fine Arts.) 68. Portrait of Gevartius. (28X36.) From Van Dyck. John Trumbull. (New York Gallery of Fine Arts.) 69. Portrait of Rembrandt. (25X33.) From the original. John G. Chapman. Presented by the Artist. (New York Gallery of Fine Arts.) 70. Portrait of Pietro Aretino, the Satirist (31X37.) John G. Chapman. From the original, by Titian, in the Pitti Palace, Florence. Presented by the Artist. (New York Gallery of Fine Arts.) 71. The Image-Pedler. (42X33.) Francis W. Edmonds. Presented by the Artist. (New York Gallery of Fine Arts.) 72. The Dutch Bible. (22½X18.) Cornelius Ver Bryck. Presented by Daniel Huntington. [Pg 12] (New York Gallery of Fine Arts.) 73. Portrait of a Revolutionary Officer (Gen. E. Huntington?) (20X24.) John Trumbull. (New York Gallery of Fine Arts.) 74. Portrait of Dr. Maurice Swabey. (25X30.) John Trumbull. An Associate Commissioner with Col. Trumbull at London, 1796. (New York Gallery of Fine Arts.) 75. Landscape—Composition. "The Old Oak." (48X36.) A. B. Durand. Presented by the Artist. (New York Gallery of Fine Arts.) 76. Portrait of Nicholas Fish, (1758-1833.) (25X30.) James H. Shegogue. From the original by Inman. Presented by Mrs. Nicholas Fish. (New York Gallery of Fine Arts.) 77. Portrait of a Lady, (fancy.) (39X59.) George W. Flagg. Presented by the Artist. (New York Gallery of Fine Arts.) 78. A Window-Scene. (14X17½.) (New York Gallery of Fine Arts.) 79. View near Sandy Hill, New York. (20½x13½.) Water-color. William G. Wall. Presented by Grant Thorburn. (New York Gallery of Fine Arts.) 80. Portrait of Macready in character as William Tell. (25X30.) Thomas S. Cummings. From the original by H. Inman. Presented by the Artist. (New York Gallery of Fine Arts.) 81. Portrait of Egbert Benson, (1746-1833.) (22X26.) John Wesley Jarvis. From the original by Stuart. [Pg 13] Presented by the Artist. 82. Portrait of Egbert Benson, (1746-1833.) (25X30.) Gilbert C. Stuart. First President of the Society, 1805-1815. Painted from life in 1807, the original of No. 81. Presented by Robert Benson, Jr. 83. Dead Game. (26X32.) Adéle Evrard. Presented by John D. Clute. 84. Christ stilling the Tempest. (27X34.) F. W. Philip. 85. Landscape, with Figures. (24X20.) 86. Portrait of Rufus Wilmot Griswold, (1815-1857.) (20X24.) Charles L. Elliott. Bequest of Rufus W. Griswold, 1857. 87. Portrait of Daniel Seymour. (22X27.) Thomas S. Cummings. Presented by Robert Kelly. 88. Mountain Stream in Western Va. (12X14.) William McLeod. 89. Portrait of Christopher Colles, (1738-1821.) (10X12.) John Wesley Jarvis. 90. Portrait of James Kent, (1763-1847.) (25X30.) Samuel F. B. Morse. President of the Society, 1828-1831. Presented by John Delafield. 91. The Mammoth Cave. (37X48.) Regis Gignoux. 92. Landscape. (20X15.) 93. Lago Maggiore and the Borromean Islands. (111X147.) Presented by Lewis M. Rutherfurd. 94. Portrait of Gov. Daniel D. Tompkins, (1774-1823.) (58X90.) John Wesley Jarvis. Presented by Thomas E. Davis. 95. Portrait of Gen. Joseph Reed, (1741-1785.) (16X20.) J. C. Hagen. Copy from the original by C. W. Peale. [Pg 14] Presented by the Artist. 96. Portrait of Gilbert C. Stuart, (1755-1828.) (3X2½.) Anson Dickinson. Miniature on ivory. Presented by S. W. and V. M. Francis. 97. Portrait of Alexander J. Dallas, (1759-1817.) (23½X29.) John W. Jarvis. Purchased from the American Museum Collection, 1863. Presented by William D. Abbatt. 98. Storm at Sea. (32X19½.) 99. The Bay of New York from Castle Garden. (33½X24½.) 100. Portrait of the Artist. 1841. (9X10½.) Jeremiah Nims. This promising young Artist died at Kingston, Jamaica, W. I., March 6, 1842, aged 24 years and 2 months. Presented by Mrs. Charles A. Davis. 101. Bacchante and Satyr. (59X44.) John Vanderlyn. From the original by Annibale Caracci in the Pitti Palace. 102. Portrait of N. P. Willis, (1806-1867.) (28X36.) William A. Wall. Painted in Italy about 1833. 103. Portrait of Alexander Hamilton, (1757-1804.) (19X22.) Charles Wilson Peale. Presented by Duncan C. Pell. 104. Portrait of Alexander Hamilton, (1757-1804.) (9X11.) Crayon. James Sharpless. Presented by Dr. Samuel Akerly, November 12, 1816. 105. Portrait of Samuel L. Mitchell, M.D., (1764-1831.) (7X9.) Crayon. James Sharpless. Presented by Dr. Samuel Akerly, November 12, 1816. 106. Portrait of John Pintard, (1759-1818.) (25X30.) John Trumbull. Founder of the Society. Recording Secretary, 1805-1819; Librarian, 1810-1811; Treasurer, 1819-1827. [Pg 15] Painted for the Society, 1817. 107. Portrait of John Pintard, (1759-1818.) (Miniature.) John Ramage, 1787. Presented by his grandson, George Hancock Servoss, February 6, 1906. 108. Portrait of Elizabeth (Brasher) Pintard, (1765-1838.) (Miniature.) John Ramage, 1787. Presented by her grandson, George Hancock Servoss, February 6, 1906. 109-110. Pair of wristlets worn by Mrs. John Pintard, one bearing portrait of John Pintard, and the other a painting representing "Justice." (Painted on ivory.) Presented by Henry C. Eno, M.D., February 18, 1909. 111. Portrait of Hernando Cortes. (19X25.) Copied from the original in the Florence Gallery. Presented by Mrs. Gouverneur Morris, January 14, 1817. 112. Portrait of Americus Vespucius. (19X25.) Copied from the original in the Florence Gallery. Presented by Mrs. Gouverneur Morris, January 14, 1817. 113. Portrait of Christopher Columbus, (1446-1506.) (19X25.) Copied from the original in the Florence Gallery. Presented by Mrs. Gouverneur Morris, January 14, 1817. 114. Portrait of Fernando Magalhaens. (19X25.) Copied from the original in the Florence Gallery. Presented by Mrs. Gouverneur Morris, January 14, 1817. 115. Portrait of Robert Morris, (1734-1806.) (24X29.) John Wesley Jarvis. From the original by Stuart. Presented by Thomas Morris, September 9, 1817. 116. Portrait of John Jones, M.D., (1729-1791.) (3½X3½.) Samuel Folwell. Miniature, drawn at New York, May 25, 1790. Presented by David Hosack, M.D., October 7, 1817. 117. Portrait of Lafayette, (1757-1834.) (19½X24.) Oval. Painted 1791. [Pg 16] Presented by General Ebenezer Stevens, October 7, 1817. 118. Portrait of Gouverneur Morris, (1752-1816.) (28X36.) Ezra Ames. First Vice President of the Society, 1810-1815, and President, 1816. Presented by Stephen Van Rensselaer, of Albany, November 11, 1817. 119. Portrait of Chief Justice John Jay, (1745-1829.) (25X30.) Joseph Wright. Painted 1786. Presented by John Pintard, November 11, 1817. 120. Portrait of Chief Justice John Jay, (1745-1829.) (40X50.) Oliver Lay. From the original by Gilbert C. Stuart. Presented by Miss Elizabeth Clarkson Jay, October 1, 1889. 121. Portrait of John C. Kunze, D.D., (1744-1807.) (25X30.) John Wesley Jarvis. Copied for the Society from a picture in possession of Mrs. Kunze and presented by his family, July 14, 1818. 122. Portrait of Myles Cooper, D.D., (1735-1785), second President of Columbia College. Copy from Copley. (25X30.) Presented by Nicholas William Stuyvesant, May 9, 1820. 123. Portrait of Rev. Samuel Provoost, D.D., (1742-1815.) (28X36.) Thomas S. Duché. Presented by Mr. and Mrs. Cadwallader D. Colden, January 11, 1825. 124. Portrait of William Smith, (1728-1793), Historian of New York. (Miniature.) H. Stubble. Presented by David Hosack, M.D., 1828. 125. Portrait of Thomas Jefferson, (1743-1826.) (18½X26½.) Copy from original by Stuart. Presented by David Hosack, M.D., November 11, 1828. 126. Portrait of Jesse Hawley, (1773-1842.) (3X3½.) Ezra Ames. Miniature on ivory. [Pg 17] Presented by Jesse Hawley. 127. Portrait of Jesse Hawley, (1773-1842.) (25X30.) Grove S. Gilbert. Presented by Jesse Hawley, January 10, 1832. 128. Portrait of Elihu H. Smith, (1771-1798.) (7X9.) Crayon. James Sharpless. Painted 1797. Presented by David Hosack, February 19, 1833. 129. Portrait of Sebastian Cabot, (1477-1557?) (29X36.) Cephas G. Thompson. Painted at the request of the Society, 1841, from the supposed original by Hans Holbein, which was the property of the late Richard Biddle, author of a Memoir of Cabot. A full account of the original portrait may be found in that work, pp. 317-320. It is supposed to have adorned the royal gallery at Whitehall. Presented by the Artist, January 5, 1841. 130. Portrait of Albert Gallatin, (1761-1849.) (25X30.) William H. Powell. President of the Society, 1843-1849. Painted from life in 1843. Presented by the Artist, February 6, 1844. 131. Portrait of John Quincy Adams, (1767-1848.) (25X30.) Edward D. Marchant. Presented by the Artist, October 1, 1844. 132. Portrait of Peter Van Schaack, (1747-1832.) (23½X28.) Presented by Frederic de Peyster, January 7, 1845. 133. Portrait of Lewis Morris, (1698-1762), Judge of the Vice Admiralty for N. Y., Conn. and N. J. (24X30.) Presented by one of his grand-daughters through William A. Whitehead, Newark, N. J., January 7, 1845. 134. Portrait of Lord Lyndhurst, (1772-1863.) (48X50.) Samuel S. Osgood. Sir John Singleton Copley, son of John Singleton Copley, Artist. Presented by the Artist, June 2, 1846. 135. Portrait of Philip Schuyler, (1695-1745.) (33X41.) Presented by Henry C. Van Schaack, Manlius, N. Y., January 26, [Pg 18]1847. 136. Portrait of Catalina Schuyler, (1705-1758.) (32X38.) Presented by Henry C. Van Schaack, Manlius, N. Y., January 26, 1847. 137. Portrait of Alexander H. Everett, (1792-1847.) (3½X4½.) Washington Blanchard. Miniature on ivory. Presented by the Artist, February 6, 1849. 138. Portrait of De Witt Clinton, (1769-1828.) (36X50.) John Wesley Jarvis. Second Vice President of the Society, 1810-1815; First Vice President, 1816; President, 1817-1819. Presented by the Heirs of Samuel S. Howland, November 7, 1854. 139. Portrait of De Witt Clinton, (1769-1828.) (49½X40.) Charles Ingham. Presented by Nelson Robinson, 1909. 140. View of a Seaport. (48X26½.) Presented by John MacGregor, M. P., October 5, 1855. "I purchased it at the sale of the late Lord Fitzgerald's collection; and as a precious historical painting, and not as a mere Landscape, although it is an admirable Picture."—Extract from a letter of John MacGregor, M.P., to John Romeyn Brodhead, dated House of Commons, June 19, 1852. 141. Portrait of Luther Bradish, (1783-1863.) (34X44.) Thomas Hicks. Vice President of the Society, 1845-1849, and President, 1850-1863. Presented by the Artist, March 4, 1856. 142. Portrait of the Earl of Carlisle, (1748-1825.) (44X56.) Daniel Huntington. Presented by the Artist, March 4, 1856. 143. Portrait of Fitz-Greene Halleck, (1790-1867.) (20X24.) Oval. John G. Taggart. From the original by C. L. Elliott. Bequest of Rufus W. Griswold, 1857. 144. Portrait of Mrs. Mary E. Hewitt, (1818-.) (25X30.) Samuel S. Osgood. [Pg 19] Presented by Mrs. Mary E. Hewitt Stebbins, April 15, 1861. 145. Portrait of Capt. John A. Sutter, (1803-1880.) (14½X18.) Samuel S. Osgood. Bequest of Rufus W. Griswold, 1857. 146. Portrait of Edgar Allan Poe, (1809-1849.) (22X26.) Oval. Samuel S. Osgood. Bequest of Rufus W. Griswold, 1857. 147. Portrait of Frances S. Osgood, (1811-1850.) (25X30.) Samuel S. Osgood. Bequest of Rufus W. Griswold, 1857. 148. Portrait of Alice Carey, (1820-1871.) (25X30.) Oval. Samuel S. Osgood. Bequest of Rufus W. Griswold, 1857. 149. Portrait of Thomas Campbell, (1777-1844.) (25X30.) Samuel S. Osgood. Bequest of Rufus W. Griswold, 1857. 150. Tobias and the Angel Gabriel. (75X53.) Rembrandt School. Thought to be by Ferdinand Bol, one of Rembrandt's pupils, and a very successful imitator of the style of his master. He was born at Dort, 1611; died 1681. This painting has been highly commended by connoisseurs and artists—among the latter may be mentioned the late lamented Thomas Cole. Presented by T. W. C. Moore, December 1, 1857. 151. Game, Fish, Fruit, Vegetables, etc. (77X59.) Francis Snyders. The two figures were probably put in by either Rubens or Jordaens. Presented by T. W. C. Moore, December 1, 1857. 152. The Artist showing his first Picture to his Parents. Group of Portraits, painted in 1788. (50X43.) William Dunlap. Presented by John Crumby, 1858. 153. Portrait of James Rivington (1724-1802.) (28X36.) [Pg 20] Presented by Samuel C. Ellis, M.D., January 6, 1858. 154. Portrait of John Randolph of Roanoke, (1773-1833.) (22X27.) John Wesley Jarvis. Painted in Baltimore in 1811 from the original by Jarvis. Presented by Washington Irving, May 18, 1858. 155. Portrait of Gov. George Clinton, (1739-1812.) (41X53.) Ezra Ames. Presented by George Clinton Tallmadge, May 4, 1858. 156. Portrait of Rajah Rammohun Roy, (1773-1833.) (25X30.) Rembrandt Peale. Indian Scholar. Painted at London, in August, 1833, about six weeks before his death. Presented by J. K. Herrick, April 5, 1858. 157. Portrait of Thomas De Witt, D.D., (1791-1874.) (25X30.) William Cogswell. Second Vice President of the Society, 1840-1849; First Vice President, 1850-1869, and President, 1869-1871. Presented by the Artist. 158. Portrait of Thomas De Witt, D.D., (1791-1874.) (29X36.) Samuel B. Waugh. Presented by Theodore Cuyler, of Philadelphia, and Morris K. Jesup, of New York, October 5, 1858. 159. Portrait of Elisha Kent Kane, (1820-1857.) (51X42.) Thomas Hicks. Presented by several Ladies of New York, January 4, 1859. 160. Portrait of Aaron Burr, (1756-1836.) (8X10.) John Vanderlyn. Presented by ten members of the Society, June 7, 1859. 161. Wreck of the Medusa. (77X50½.) Jean L. T. A. Gericault. Bequest of Uriah P. Levy, 1862. 162. Vision of the Archbishop of Rouen. (44X57.) C. A. Vanloo. Bequest of Uriah P. Levy, 1862. 163. Peasants Dancing. (77X57.) Carl Bruner. [Pg 21] Bequest of Uriah P. Levy, 1862. 164. Portrait of Cachasunghia, Osage Warrior. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 165. Portrait of an Osage Warrior. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 166. Portrait of Payouska, Chief of the Great Osages. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 167. Portrait of a Chief of the Little Osages. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 168. Portrait of an Osage Warrior. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 169. Portrait of an Indian of the "Iowas of the Missouri." (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 170. Portrait of an Indian Girl of the "Iowas of the Missouri." (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 171. Portrait of a Delaware Indian. (15¼X21¼.) Crayon. St. Memin. Purchased June 5, 1860. 172. Portrait of Charles Fenno Hoffman, (1806-1887.) (25X30.) Cephas G. Thompson. Presented by the Artist, November 6, 1860. 173. Portrait of Americus Vespucius. (30X40.) Copy from the original by Parmigiano in the Royal Gallery at Naples. Presented by R. K. Haight, November 6, 1860. 174. Portrait of Christopher Columbus (30X40.) Copy from the original by Parmigiano in the Royal Gallery at Naples. [Pg 22] Presented by R. K. Haight, November 6, 1860. 175. Portrait of Henry Rutgers, (1745-1830.) (24X29.) Henry Inman. "Painted by the late Henry Inman, about the year 1828. The original I have in my possession, from which two copies were made by Mr. Inman and given to my uncle, Col. Rutgers; the one you have received, to his particular political friend, John Targee, and the other to the Rutgers College, at New Brunswick, N. J."—Extract from letter of W. B. Crosby. Presented by P. R. Bonnett, April 2, 1861. 176. Portrait of Seth Grosvenor. (25X30.) John G. Taggart. Founder of the Grosvenor Fund of the Society, 1858. Painted for the Society and received June 18, 1881. 177. Portrait of Gen. Anthony Wayne, (1745-1796.) (24X29.) Presented by George Folsom, June 18, 1861. 178. Portrait of Rip Van Dam, (1662-1736.) (26X29.) Oval. Presented by his great-great-granddaughter, Mrs. Emily Verplanck Goodwin, November 4, 1862. 179. Portrait of Mrs. Rip Van Dam, (Sarah Vanderspiegle.) (26X29.) Oval. Presented by her great-great-granddaughter, Mrs. Emily Verplanck Goodwin, November 4, 1862. 180. Portrait of Henry Abbott, M.D., (1812-1859.) (51X40.) Thomas Hicks. Founder of the Egyptian Museum. Painted for the Society, 1863. 181. Portrait of Peter Remsen. (26X33.) Samuel L. Waldo. Bequest of Edward A. Newton, February 3, 1863. 182. The Sibyl. (25X30.) Daniel Huntington. Presented by the American Art Union, April 7, 1863. 183. Portrait of Daniel Stanton. (25X30.) Charles L. Elliott. [Pg 23] Presented by the American Art Union, April 7, 1863. 184. Portrait of Prosper M. Wetmore, (1798-1876.) (25X30.) Charles L. Elliott. Member of the Executive Committee of the Society, 1842-1848. Presented by the American Art Union, April 7, 1863. 185. Portrait of John Wakefield Francis, M.D., (1789-1861.) (25X30.) Charles L. Elliott. Librarian of the Society, 1812-1818, and Corresponding Secretary, 1817-1818. Presented by the American Art Union, April 7, 1863. 186. Portrait of John Wakefield Francis, M.D., (1789-1861.) (25X30.) Oval. James Bogle. Presented by the Artist, March 3, 1868. 187. Portrait of William Cullen Bryant, (1794-1878.) (25X30.) Henry Peters Gray. Foreign Corresponding Secretary of the Society, 1871-1872, and First Vice President, 1873-1878. Presented by the American Art Union, April 7, 1863. 188. Portrait of Clarkson Crolius, (1805-1887.) (24X30.) Ezra Ames. Painted 1825. Speaker of the House of Assembly, State of New York, 1825. Presented by his son, Clarkson Crolius, May 5, 1863. 189. Portrait of Mrs. Clarkson Crolius. (24X29½.) Benjamin A. Wallace. (Wife of the above.) Bequest of Clarkson Crolius, 1887. 190. Portrait of John Watts, (1749-1836.) (27X34.) John W. Bolles. Copied from the original by Henry Inman. Presented by his grandson, J. Watts de Peyster, October 10, 1863. 191. Portrait of John Stanford, D.D., (1754-1834.) (27X33½.) John Wesley Jarvis. Chaplain to the Humane and Criminal Institutions in the city of New York. [Pg 24] Presented by Aaron B. Hays, March 1, 1864. 192. Portrait of Bryan Rossiter. (25X30.) John Trumbull. The first sergeant-at-arms of the N. Y. State Society of the Cincinnati, painted in the uniform of the Revolutionary Army. Deposited by the N. Y. State Society of the Cincinnati, March 1, 1864. 193. Portrait of Richard Bayley, M.D., (1745-1801.) (18X21½.) J. H. Lazarus. From the original by Stuart. Presented by his grandson, the Rt. Rev. J. Roosevelt. Bayley, D.D., July 4, 1864. 194. Hector parting with his Wife and Child at the Scæan Gate. (42X48.) Benjamin West. Presented by William H. Webb, January 3, 1865. 195. Chryseïs returned to her father Chryses. (42X48.) Benjamin West. Presented by William H. Webb, January 3, 1865. 196. Portrait of Gen. William Irvine, (1741-1804.) (25X30.) J. R. Lambdin. From the original by Robert E. Pine. Presented by William A. Irvine, November 7, 1865. 197. Portrait of William L. Stone, (1792-1844.) (25X30.) Edward D. Marchant. Member of the Executive Committee of the Society, 1823-1824 and 1843. Presented by John B. Hall, October 2, 1866. 198. Portrait of Thomas J. Bryan, (1800-1870.) (25X30.) William O. Stone. Founder of the Bryan Collection. Painted for the Society, 1867. 199. Portrait of Roger Gerard Van Polanen, (1831.) (25X30.) James Frothingham. Minister Resident of the Batavian Republic, 1795-1802. Presented by S. Alofsen, June 18, 1867. 200. Portrait of Fitz-Greene Halleck, (1790-1867.) (13½X15½.) G. W. Twibill, Jr. From the original by Henry Inman. See No. 216. [Pg 25] Presented by Mrs. Charles A. Davis, May 5, 1868. 201. Portrait of Fitz-Greene Halleck, (1790-1867.) (3½X5.) Pencil drawing, (1831.) Henry Inman. Presented by Mrs. Charles A. Davis, May 5, 1868. 202. View of the Falls of Niagara. (29X168½.) John Trumbull. Taken from under the Table Rock. Presented by Dr. Alexander E. Hosack, February 4, 1868. 203. View of the Falls of Niagara. (29X168½.) John Trumbull. Taken from the road two miles below Chippawa. Presented by Dr. Alexander E. Hosack, February 4, 1868. 204. Portrait of William Johnson, (1770-1848.) (25¾X31½.) John Wesley Jarvis. One of the original corporators of the Society. Painted in 1819. Presented by Horace Binney, Jr., April 7, 1868. 205. Portrait of George W. Bethune, D.D., (1805-1862.) (25X30.) Oval. Rembrandt Peale. Presented by John H. Brower, June 1, 1869. 206. Theodore Allen. (Cameo.) Executed in 1835. Son-in-law of Luman Reed. Presented by Jonathan Sturges, March 5, 1870. 207. Portrait of James Madison, (1751-1836.) (20X24.) A. B. Durand. Presented by P. Kemble Paulding, January 4, 1870. 208. Portrait of James Madison, (1751-1836.) (Miniature.) Presented by Miss Mary Cruger, February 3, 1873. 209. Jacob's Dream. (70X51.) Luther Terry. Presented by Mr. Luther Terry, in the name of the late Mrs. Eliza Hicks Rieben, March 7, 1871. 210. Portrait of William W. Van Ness, (1776-1823.) (26½X33.) John Wesley Jarvis. Justice Supreme Court, New York. [Pg 26] Presented by Marshall S. Bidwell, November 7, 1871. 211. Portrait of Ambrose Spencer, (1765-1848.) (25X30.) John Wesley Jarvis. Chief Justice Supreme Court, New York. Presented by Marshall S. Bidwell, November 7, 1871. 212. Fruit Piece—Strawberries, etc. (19½X23½.) Nicholas Van Gelder. Signed N. Van Gelder, 1674. Bequest of T. W. C. Moore, 1872. 213. Fruit Piece—Grapes, etc. (19½X23½.) Nicholas Van Gelder. Signed N. Van Gelder, 1674. Bequest of T. W. C. Moore, 1872. 214. Interior—Old Man eating. (11½X14½.) Dominick Van Tol. Bequest of T. W. C. Moore, 1872. 215. Doctor and Bottle. (7¼X9½.) Gerard Douw. This picture was purchased in Paris in 1832 during the prevalence of the cholera; it is signed by the artist with his monogram in the left-hand corner. Bequest of T. W. C. Moore, 1872. 216. Portrait of Fitz-Greene Halleck, (1790-1867.) (25X30.) Henry Inman. This picture was painted in the year 1828 for Gen. George P. Morris. Bequest of T. W. C. Moore, 1872. 217. Female Head. (8½X11.) Sir Thomas Lawrence. Bequest of T. W. C. Moore, 1872. 218. St. John in the Desert. (6X8.) Juan de Valdez. Bequest of T. W. C. Moore, 1872. 219. St. Peter after denying Christ. (6X8.) Juan de Valdez. Bequest of T. W. C. Moore, 1872. 220. La Toilette. (14½X18.) Jean François De Troy. A Lady preparing for a masked Ball. Bequest of T. W. C. Moore, 1872. 221. Landscape. (14X16.) Matthew Withoos. [Pg 27] Bequest of T. W. C. Moore, 1872. 222. Assumption of the Virgin. (24X32.) Don Juan Carrenno de Miranda. Bought in Madrid, 1842. Bequest of T. W. C. Moore, 1872. 223. Landscape—Monks at their Devotions. (45¼X33¼.) Salvator Rosa. Bequest of T. W. C. Moore, 1872. 224. Music Party. (28½X20.) Anthony Stevers (Palamedes). Bequest of T. W. C. Moore, 1872. 225. Landscape—Gypsies crossing a Brook. (35X27¼.) D. Brown. Bought at Olmstead's sale, April, 1836, who sold it as a Morland, unaware perhaps that it was signed by Brown, who was one of his most successful imitators. Bequest of T. W. C. Moore, 1872. 226. Portrait of Cinq Mars. (1620-1642.) (31½X41.) Diego Velasquez. This picture was bought in Paris, in the year 1827, of Le Court, a miniature painter, who had it from J. B. Le Prince, the well-known French artist; the latter said it was a portrait of Cinq Mars, and by Velazquez. Bequest of T. W. C. Moore, 1872. 227. Portrait of Frederic de Peyster, (1796-1882.) (29X36.) G. Gerhard. Recording Secretary of the Society, 1829-1837; Second Vice President, 1850-1863, and President, 1864-1866 and 1873-1882. Painted for the Society, and presented by Frederic de Peyster, October 1, 1872. 228. Landscape. (8½X7¾.) Thomas Gainsborough. Presented by Maria J. B. Browne, October 1, 1872. 229. Portrait of a Gentleman. (26X35.) Presented by Miss Elizabeth Richard, January 7, 1873. 230. Portrait of a Lady. (24X29.) Presented by Miss Elizabeth Richard, January 7, 1873. 231. Portrait of a Gentleman. (25X30.) Presented by Miss Elizabeth Richard, January 7, 1873. 232. Portrait of James Monroe, (1758-1831.) (Miniature.) [Pg 28] Presented by Miss Mary Cruger, February 4, 1873. 233-246. The Incas of Peru. A collection of fourteen paintings in oil on canvas, bearing inscriptions designating the name and succession of each monarch. They are said to be the original pictures from which the portraits of the Incas were engraved for the work of Herrera—"Historia general de los Hechos de los Castellanos," etc., published at the beginning of the 17th century (1601-15), and reproduced in the edition by Barcia in 1726-30. This series of the Incas, as given by Herrera, differs from that of Garcilasso, in the addition of Vrco (241), who is said to have reigned only eleven days, and the omission of Yupanqui, the son of Pachacutec (242). Presented by Frederic de Peyster, April 1, 1873. 233. Manco Capac, First Inca. (21X23.) 234. Sinchi Roca, Second Inca. (21X23.) 235. Lloqui Yupanqui, Third Inca. (21X23.) 236. Mayta Capac, Fourth Inca. (21X23.) 237. Capac Yupanqui, Fifth Inca. (21X23.) 238. Inca Roca, Sixth Inca. (21X23.) 239. Yahuar Huacac, Seventh Inca. (21X23.) 240. Viracocha, Eighth Inca. (21X23.) 241. Vrco, Ninth Inca. (21X23.) 242. Pachacutec, Tenth Inca. (21X23.) 243. Tupac Yupanqui, Eleventh Inca. (21X23.) 244. Huayna Capac, Twelfth Inca. (21X23.) 245. Huascar, Thirteenth Inca. (21X23.) 246. Atahualpa, Fourteenth Inca, put to death by order of Pizarro, August 29, 1533. (21½X23½.) 247. Portrait of William Shaler, (1778-1833.) (22½X28½.) U. S. Consul at Algiers and Havana. Presented by Daniel P. Ingraham, April 7, 1874. 248. Portrait of Ezra L'Hommedieu, (1734-1811.) (27½X32½.) James Earle. [Pg 29] Presented by Daniel P. Ingraham, April 7, 1874. 249. Portrait of Erastus C. Benedict, (1800-1880.) (31X39.) William H. Powell. Foreign Corresponding Secretary of the Society, 1879-1880; Second Vice President, 1871, and First Vice President, 1872. Presented by Erastus C. Benedict, May 5, 1874. 250. Portrait of Mrs. Estelle A. Lewis, (1824-1880.) (25X30.) C. L. Elliott. Presented by Mrs. Lewis, June 2, 1874. 251. Portrait of Rev. John Rodgers, D.D., (1727-1811.) (7X9.) Presented by Mrs. William Gerard, October 24, 1874. 252. Portrait of Henry Clay, (1777-1852.) (25X30.) Samuel S. Osgood. Presented by Alice Talbot Lancey, February 14, 1875. 253. The Cavalry Charge of Lt. Harry B. Hidden. (75X45.) V. Nehlig. This gallant charge was made near Sangster's Station, Va., March 9, 1862. Lieut. Hidden, with fourteen of the 1st N. Y. Cavalry, charged a rebel outpost of one hundred and fifty infantry, driving them back, killing three, wounding five, and capturing fourteen. Lieut. Hidden was killed in the early part of the action. Presented by William H. Webb, June 5, 1875. 254. Interior of the Park Theatre, New York City, November, 1822. (22½X31.) John Searle. This water-color drawing of the new Park Theatre was made for William Bayard by an amateur artist; it represents the stage as occupied by Charles Mathews in the character of Morbleu, and Miss Ellen A. Johnson as Madame Bellegarde in Moncrieffe's popular farce of "Monsieur Tonson." The body of the house was filled by the artist with portraits of many of the most prominent citizens of New York at that time. Presented by the heirs of Mrs. Harriet Bayard Van Rensselaer, October 5, 1875. 255. Portrait of Robert R. Livingston, (1718-1775.) (34X45.) John Vanderlyn. This portrait was painted at Paris, in 1804, and presented to the American Academy of Fine Arts in New York, July 6, 1805, where it remained until that institution was dissolved. [Pg 30] Presented by Mrs. Thomson Livingstone, October 3, 1876. 256. Portrait of Col. Andrew Warner, (1806-1899.) (29X36.) George A. Baker. Recording Secretary of the Society, 1846-1849 and 1854-1899. Painted for the Society, 1877. 257. Portrait of Gen. Aaron Ogden, (1756-1839.) (25X30.) A. B. Durand. Governor of New Jersey, and President-General of the Society of the Cincinnati. Painted, 1834. Presented by several members of the Society, October 2, 1878. 258. Portrait of Gulian C. Verplanck, (1786-1870.) (25X30.) Charles C. Ingham. Second Vice President of the Society, 1868-1869, and First Vice President, 1870. Painted about 1830. Presented by several members of the Society, October 2, 1878. 259. Portrait of Antonio Lopez de Santa Aña, (1795-1876.) (25X30.) Paul L'Ouvrier. Painted from life, about 1858. Presented by Frederic De Peyster, October 2, 1878. 260. Portrait of John A. Dix, (1798-1879.) (40X50.) Daniel Huntington. Second Vice President of the Society, 1870. Painted for the Society, 1880. Presented by Charles O'Conor. 261. Vase of Flowers. (13X17.) Mary L. Baker. Presented by Richard E. Mount, February 3, 1880. 262. Portrait of Charles P. Daly, (1817-1899.) (25X30.) William Page. Founder of the "Charles P. Daly Fund" of the Society. Painted in 1848. Presented, June 7, 1881, by Mrs. Charles P. Daly. 263. Portrait of a Lady. (34X46.) Presented by Frederic De Peyster, February 7, 1882. 264. Portrait of a Gentleman. (34X46.) This and the preceding picture came from Castleton, Staten Island, N. Y., the former residence of the Colonial Governor, Colonel Thomas Dongan. They are portraits of members of the Dongan family, and were purchased from the collection of the Hon. Caleb Lyon, January, 1882. [Pg 31] Presented by Frederic De Peyster, February 7, 1882. 265. Portrait of Cornelius Steenwyck, (-1684.) (9½X12½.) Presented by Mrs. Eliza M. Clarke, of the Locusts, near Shrewsbury, N. J., November 4, 1856, through G. de Haert Gillespie, Esq. 266. Portrait of Cornelius Steenwyck, (-1684.) (24½X13½.) Jan Van Goosen. Steenwyck was prominent in the early annals of New York as Burgomaster, etc., under the Dutch, and Member of the Assembly, Alderman, Member of the Council, and Mayor under the English rule. This picture is supposed to have been painted at Haarlem, Holland, 1667-1668, at which time Steenwyck was visiting his sister, the wife of the artist Van Goosen. It remained for more than a century in the family of Colonel Anthony White, from one of whose descendants—Miss Isabella J. Evans, of New Brunswick, N. J.—it came into the possession of the Society in December, 1882. The portrait is surmounted by the arms of Steenwyck, and below it is a view of the city of New Amsterdam, from a sketch made about 1656. The head of Steenwyck, No. 265 of this Catalogue, seems to have been copied from this picture. Presented by several members of the Society, December 5, 1882. 267. Portrait of Thomas Payne, (1717-1799.) (23X29.) G. Vander Puyl. Original of the portrait engraved for Dibdin's Decameron. 268. Portrait of John Payne. (25X30.) Thomas G. Wainewright. The two preceding portraits, of father and son, celebrated London booksellers, were obtained from Mr. J. T. Payne, grandson, by Mr. F. S. Ellis, of London, and by him presented to the Society, April 3, 1883. 269. Portrait of Richard Hildreth, (1807-1865.) (25X30.) Robert M. Pratt. Painted in 1858. Presented by Miss Eugenia C. Pratt, February 5, 1884. 270. Portrait of Nicholas P. Trist, (1800-1874.) (25X30.) Robert M. Pratt. Painted in 1852. Presented by Miss Eugenia C. Pratt, February 5, 1884. 271. Portrait of Roger Strong, (1762-1836.) (10X28½.) John Vanderlyn. Presented by his granddaughter, Miss Frances G. Mankin, May 5, [Pg 32]1885. 272. Portrait of Robert Benson, (1739-1823.) (24X30.) John Trumbull. Painted, 1804, when the subject was in his 65th year. Bequest of Robert Benson, Jr., May 5, 1885. 273. Portrait of Henry Benson, (1741-1823.) (25X30.) John Vanderlyn. Painted, 1823, when the subject was 82 years of age. Bequest of Robert Benson, Jr., May 5, 1885. 274. Portrait of John Lawrance, (1750-1810.) (Miniature.) John Trumbull. Judge-Advocate-General, War of the Revolution, Member of Congress, and U. S. Senator from New York, Judge U. S. District Court. Painted at Philadelphia, 1792. Presented by J. L. and G. C. McWhorter, January 5, 1886. 275. Portrait of Augustus Schell, (1812-1884.) (22X27.) Eastman Johnson. First Vice President of the Society, 1871, and President, 1872, 1883-1884. Painted, 1885. Presented by Mrs. Anna Schell, January 5, 1886. 276. Return of the 69th Regiment, N. Y. S. M., from the Seat of War. (140X87.) Louis Lang. This regiment returned to the city of New York, on the morning of the 27th of July, 1861, after three months' service in the South, when it received a popular ovation, which the artist has faithfully depicted. The picture represents the troops turning into Broadway from Battery Place, where they had landed. The faces are mainly studies from life. Presented by the Artist, October 5, 1886. 277. Portrait of Benjamin H. Field, (1814-1893.) (29X36.) Daniel Huntington. Treasurer of the Society, 1860-1877; Second Vice President, 1878-1884, and President, 1885-1886. Painted, 1875. Bequest of Mrs. Catharine M. Van Cortlandt Field, February 1, 1887. 278. Portrait of Caroline E. S. Norton, (1808-1877.) (40X50.) Samuel S. Osgood. Painted, 1839. [Pg 33] Presented by Mrs. Samuel S. Osgood, November 1, 1887. 279. St. Peter's denial of Christ. (65X45.) Samuel S. Osgood. Presented by Mrs. Samuel S. Osgood, October 2, 1888. 280. Christ in the Prætorium. (38X50.) Samuel S. Osgood. Presented by Mrs. Samuel S. Osgood, October 2, 1888. 281. Portrait of Daniel Webster, (1782-1852.) (25X30.) George P. A. Healy. Painted in 1842. Presented by J. Pierpont Morgan, October 2, 1888. 282. Portrait of Lord Ashburton (Alexander Baring), (1774-1848.) (25X30.) George P. A. Healy. Painted in 1842. Presented by J. Pierpont Morgan, October 2, 1888. 283. Portrait of John Hampden Pleasants, (1797-1846.) (22X26.) Oval. Founder of the Richmond Whig, and its Editor for twenty-two years. Killed in a duel, February 27, 1846. Presented by Messrs. A. S. Buford, T. William Pemberton and Thomas Potts, 1889. 284. Portrait of John Alstyne, (1800-1869.) (33X41.) Charles L. Elliott. Painted in 1866. Presented by the Heirs of George P. Clapp, March 4, 1890. 285. Portrait of Henry Ten Broeck, (1754-1830.) (24X30.) John Paradise. Painted in 1814. Presented by Henry Ten Broeck Gamage, June 2, 1891. 286. Portrait of Capt. John Waddell, (-1762.) (28X35.) Presented by Edmond B. Southwick, December 1, 1891. 287. Portrait of Mrs. John Waddell (Anne Kirton), (1716-1773.) (28X35.) Presented by Edmond B. Southwick, December 1, 1891 288. Portrait of Maximilian I., Emperor of Mexico, (1832-1867.) (36X47.) Oval. [Pg 34] Bequest of Mrs. Parthenia T. Norton, 1892. 289. Portrait of Carlota, Empress of Mexico. (36X47.) Oval. Bequest of Mrs. Parthenia T. Norton, 1892. 290. Portrait of John Alsop King, (1816-1900.) (38X45.) Robert Hinckley. President of the Society, 1887-1900. Painted for the Society, 1892. 291. Portrait of Rear-Admiral Samuel L. Breese, U. S. N., (1794-1870.) (25X30.) Daniel Huntington. Painted in 1872. Bequest of his widow, Mrs. E. L. Breese, 1892. 292. Portrait of Myron Holley, (1779-1841.) (24X29.) Presented by his daughter, Miss Sallie Holley, February 2, 1892. 293. Portrait of Col. Zachary Taylor, (1784-1850.) (20X24.) Presented by Daniel Parish, Jr., April 5, 1892. 294. Mrs. Martha J. Lamb, seated in her library, (1829-1893.) (24X15.) Author of the History of the City of New York. Bequest of Mrs. Martha J. Lamb, 1893. 295. Portrait of Sa-go-ye-wat-ha, or Red Jacket. (19X29.) Robert W. Weir. Painted from life in 1828 at New York City. Presented by Winthrop Chanler, February 7, 1893. 296. Portrait of John De Peyster, 1798. (25X30.) Charles Wilson Peale. Presented by his grandson, Christopher Champlin, June 5, 1894. 297. Portrait of Mrs. John De Peyster (Elizabeth Haring). (1743-1821.) (25X30.) Charles Wilson Peale. Painted in 1798. Presented by her grandson, Christopher Champlin, June 5, 1894. [Pg 35] 298. Portrait of Mrs. Christopher Champlin, (1749-1823.) (23½X28.) Presented by her grandson, Christopher Champlin, June 5, 1894. 299. Portrait of Col. Johannes Knickerbacker, (1749-1827.) (21X25.) Commander of the 14th Albany Regiment in the War of the Revolution. Bequest of his grandson, the Rt. Rev. David B. Knickerbacker, 1895. 300. Portrait of Herman Knickerbacker, (1782-1855.) (22X29.) Bequest of his son, the Rt. Rev. David B. Knickerbacker, 1895. 301. Portrait of Capt. Daniel Delavan, (1757-1835.) (25X30.) John Trumbull. Captain of Light Horse, War of the Revolution. Presented by Marinus Willett Dominick, May 7, 1895. 302. Portrait of Commodore James Nicholson, U. S. N., (1737-1804.) (25X30.) Presented by the Count de Gallatin, June 4, 1895. 303. Portrait of Rev. Alexander McWhorter, D.D., (1734-1807.) Crayon. (8X10.) Presented by George C. McWhorter, October 1, 1895. 304. Portrait of Mrs. Alexander McWhorter (Mary Cumming). Crayon. (8X10.) Presented by George C. McWhorter, October 1, 1895. 305. Portrait of Mrs. Alexander N. Macomb (Julia Anna McWhorter). (3X3½.) Benjamin Trott. Miniature on ivory. Presented by George C. McWhorter, October 1, 1895. 306. Portrait of James H. Allen. (2X2½.) Grandson of Chief Justice Allen of Pennsylvania. Born 1768, died 1778. Miniature on ivory. Presented by George C. McWhorter, October 1, 1895. 307. Portrait of Mrs. George Ogilvie (Ann McWhorter). Crayon. (7½X10.) [Pg 36] Presented by George C. McWhorter, October 1, 1895. 308. Portrait of John Lawrance, (1750-1810.) (8X9½.) Presented by George C. McWhorter, October 1, 1895. See No. 274. 309. Portrait of the Rev. Hooper Cumming. (25X30.) Henry Inman. Bequest of Mrs. Julia C. Van Arsdale Jones, 1896. 310. Portraits of Mrs. Hooper Cumming (Sophie Wright) and daughter Harriet, who married Edward A. Jee. (24X30.) Rembrandt Peale. Bequest of Mrs. Julia C. Van Arsdale Jones, 1896. 311. Portrait of Sir William Johnson, Bart, (1715-1774.) (25X30.) Copy from the original in the possession of his great-grandson. Presented by Edward F. de Lancey, October 6, 1896. 312. Portrait of Mrs. Augustus Jay (Anna Maria Bayard), (1670-.) (29½X37.) Presented by Edward F. de Lancey, October 6, 1896. 313. View in the Swiss Alps, 1845. (36X44.) A. Castell. Presented by Edward F. de Lancey, October 6, 1896. 314. Portrait of David Gelston, (1744-1828.) (27X33½.) John Wesley Jarvis. Presented by his granddaughter, Mrs. Henry R. Winthrop, January 5, 1897. 315. Seaport in Holland. (24½X17½.) Adam Willaerts. Signed and dated 1640. Presented by Mrs. Susan C. Warren, May 4, 1897. 316. View of the Yosemite Valley, 1865. (71X54.) Thomas Hill. Presented by Charles T. Harbeck, June 1, 1897. 317. Sepia Drawing of Trinity and Grace Churches, New York City. (36X25.) William Strickland. Presented by Daniel Parish, Jr., October 5, 1897. 318. Sepia Drawing of St. Paul's Church, New York City. (36X25.) William Strickland. [Pg 37] Presented by Daniel Parish, Jr., October 5, 1897. 319. Portrait of Eugene Keteltas, (1802-1876.) (25X30.) William O. Stone. Bequest of Henry Keteltas, 1898. 320. Portrait of Eldad Holmes. (27X34.) First President of the Tradesmen's Bank of New York. Presented by the Bank, February 6, 1900. 321. Portrait of Preserved Fish, (1766-1846.) (33X42.) Fourth President of the Tradesmen's Bank of New York. Presented by the Bank, February 6, 1900. 322. Portrait of Edwin Smith. (28X34.) Francisco Anelli. Presented by Mr. Smith, May 1, 1900. 323. Portrait of George P. Morris, (1802-1864.) (21X24.) Charles L. Elliott. Poet and Journalist. Presented by Daniel Parish, Jr., November 7, 1900. 324. Portrait of William Kelby, (1841-1898.) (29X36.) Robert Hinckley. Assistant Librarian of the Society, 1857-1893, and Librarian, 1893, until his death, 1898. Painted for the Society, 1901. 325. Portrait of Brevet Lieutenant-Colonel Henry Keteltas, U. S. A., (1838-1896.) (37X60.) Marietta Cotton. Presented by his sister, Alice Keteltas, June 4, 1901. 326. Portrait of Colonel Peter R. Livingston, (1737-1794.) (28X36.) William H. Powell. Bequest of Mrs. William S. Livingston, 1901. 327. Portrait of William Walton, (1706-1768.) (25X29.) Presented by Dr. William Walton Verplanck. 328. Portrait of William Walton, (1706-1768.) (40X50.) Bequest of Theodora M. Storm, 1902. 329. Portrait of Mrs. William Walton (Cornelia Beekman), (1708-1786.) (40X50.) [Pg 38] Bequest of Theodora M. Storm, 1902. 330. Portrait of The Very Rev. Eugene Augustus Hoffman, D.D., (1829-1902.) (40X60.) Harry T. See. Foreign Corresponding Secretary of the Society, 1896-1900, and President, 1901-1902. Painted for the Society, 1902. 331. Portrait of Samuel Verplanck Hoffman. (54X36.) J. Carroll Beckwith. President of the Society, 1903-1912. Painted for the Society, 1909. 332. Portrait of Samuel Verplanck Hoffman. (52X36.) Rudolph Schmidt. President of the Society, 1903-1912. Presented by the Artist, March 7, 1911. 333. Portrait of Zophar Mills, (1809-1887.) (36X42.) Frank B. Carpenter. Presented by his daughter, Adelaide Mills, November 24, 1902. 334. Portrait of David Grim, (1737-1826.) (28X36.) Samuel L. Waldo. Painted, 1812. Bequest of Sophie E. Minton, December 2, 1902. 335. Landscape. Sunset. (25X37.) A. B. Durand. The last picture painted by the Artist, 1878, aged 83 years. Presented by the children of the Artist, through John Durand, April 7, 1903. 336. Study from Nature. (10X14.) A. B. Durand. Made at Hoboken, N. J., before 1834. Presented by the children of the Artist, through John Durand, April 7, 1903. 337. Study from Nature. (11X14½.) A. B. Durand. Made at Hoboken, N. J., before 1834. Presented by the children of the Artist, through John Durand, April 7, 1903. 338. Ideal Head. A suggestion from life. (21½X27.) A. B. Durand. Painted, 1836. Presented by the children of the Artist, through John Durand, [Pg 39]April 7, 1903. 339. Portraits, three children with landscape accessories. (29X37.) A. B. Durand. Painted about 1834. Presented by the children of the Artist, through John Durand, April 7, 1903. 340. Landscape. Sunday morning. (25X36.) A. B. Durand. Painted, 1839. Presented by the children of the Artist, through John Durand, April 7, 1903. 341. Il Pappagallo. (24X30.) A. B. Durand. Painted from a model in Rome, 1840. Presented by the children of the Artist, through John Durand, April 7, 1903. 342. A Dream of Arcadia. Study for original picture. (9X14.) Thomas Cole. Presented by the children of the late Asher B. Durand, through John Durand, April 7, 1903. 343. Portrait of Asher B. Durand, (1796-1886.) (15X19½.) William Jewett. Painted in 1825. Presented by the children of the late Asher B. Durand, through John Durand, April 7, 1903. 344. Portrait of Philip W. Engs, (1790-1875.) (22X27½.) Presented by his grandson, Henry A. Bostwick, April 7, 1903. 345. View of New York about 1753. (37½X60.) Presented, December 6, 1904, by Miss Cornelia LeRoy White in the name of Goldsborough Banyer, late a Fellow of the Society. 346. Sacrifice of Abraham. (37½X40.) Dutch School. Presented by Mrs. Peter Gerard Stuyvesant Ten Broeck, May 2, 1905. 347. Portrait of Peter Stuyvesant, (1592-1672.) (22½X17¾.) Painted from life. Director General of New Netherland, 1646-1664. Presented by his great-great-great-great-grandson, Robert Van [Pg 40]Rensselaer Stuyvesant, February 2, 1909. 348. Portrait of Peter Stuyvesant. (25X30.) Copy from the original. Presented by Nicholas William Stuyvesant, January 9, 1829. 349. Portrait of Nicholas William Stuyvesant, (1648-1698.) (25X35.) Son of Peter Stuyvesant. Presented by his great-great-great-grandson, Robert Van Rensselaer Stuyvesant, June 6, 1905. 350. Portrait of Gerardus Stuyvesant, (1690-1777.) (25X30.) Son of Nicholas William Stuyvesant. Presented by his great-great-grandson, Robert Van Rensselaer Stuyvesant, June 6, 1905. 351. Portrait of Nicholas William Stuyvesant, (1722-1780.) (25X30.) Son of Gerardus Stuyvesant. Presented by his great-grandson, Robert Van Rensselaer Stuyvesant, June 6, 1905. 352. Portrait of Petrus Stuyvesant, (1727-1805.) (25X30.) Gilbert C. Stuart. Son of Gerardus Stuyvesant. Presented by his great-grandson, Robert Van Rensselaer Stuyvesant, June 6, 1905. 353. Portrait of Nicholas William Stuyvesant, (1769-1833.) (25X30.) Son of Petrus Stuyvesant. Presented by his grandson, Robert Van Rensselaer Stuyvesant, June 6, 1905. 354. Portrait of Peter Stuyvesant, (1796-1860.) (24X30.) Son of Nicholas William Stuyvesant. Presented by his son, Robert Van Rensselaer Stuyvesant, June 6, 1905. 355. View near Fort Montgomery, New York. (21X14.) Water Color. William G. Wall. Presented by Daniel Parish, Jr., July 19, 1905. 356. View of the Highlands looking South from Newburgh Bay. (21X14.) Water Color. William G. Wall. [Pg 41] Presented by Daniel Parish, Jr., July 19, 1905. 357. Portrait of Peter Augustus Jay, (1776-1842.) (27X33.) Charles F. Saltza. From the original by A. B. Durand. Second Vice President of the Society, 1823; First Vice President, 1824-1827; President, 1840-1842. Presented by his daughter, Mrs. Matthew Clarkson, June 6, 1905. 358. View of the Dongan Manor House. (1876.) (19X13.) J. H. Wright. West New Brighton, New York. Presented by Joseph T. Williamson, October 5, 1905. 359. "The Fight in the Air." (68X49½.) Sigmund Lachenwitz. Presented by Mrs. Fancher Nicoll, May 1, 1906. 360. Portrait of Henry Dexter, (1813-1910.) (40X52.) Charles A. Whipple. Patron. Painted for the Society, 1901. 361. Portrait of Orrando Perry Dexter, (1853-1903.) (24X30.) Charles A. Whipple. Presented by his father, Henry Dexter, July 30, 1906. 362. Portrait of James William Beekman, (1815-1877.) (22X27.) Walter Satterlee. From the original by Thomas Leclear. Second Vice President of the Society, 1872-1877. Presented by his sons, Gerard and James William Beekman, December 4, 1906. 363. Portrait of John D. Jaques, M.D., (1772-1839.) (25X30.) Henry Inman. Presented by David Ralph Jaques, February 5, 1907. 364. Portrait of John S. Giles, (1799-1880.) (48X51.) J. B. Stearns. Painted 1858. Treasurer of the Widows and Orphans Fund, Volunteer Fire Department, New York City. Presented by his daughter, Mrs. Frances M. Gibson, June 4, 1907. 365. Lake George View of Black Mountain from the Harbor Islands. (60X32.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. [Pg 42] 366. Sepia Drawing of Primeval Forest. (58X48.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 367. Head of a Roman. (24½X19½.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 368. View at Milton, New York. (23X30.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 369. Portrait of J. W. Casilear, (1811-1893.) (30X25.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 370. Hudson River View of Fishkill Mountains. (32X46.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 371. Portrait of [Nephew of A. B. Durand]. Unfinished. (12X14.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 372. Portrait of Asher B. Durand, (1796-1886.) (30X24.) Painted by himself. Presented by his daughter, Mrs. Lucy M. Durand Woodman, November 12, 1907. 373. Landscape—Sunset. (25X34.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 374. Study from Nature—Rocks and Trees. (21X16¾.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 375. Study from Nature—Factory Point, N. H. (18X24.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. [Pg 43] 376. View of Chappell Brook—Adirondack Mountains. (28X33.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 377. Portrait—Sister of the Artist. (25¾X20½.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 378. Portrait of Mrs. John Durand. (12X9¾.) A. B. Durand. Mother of the Artist. First portrait painted by Durand, 1822. Presented by her daughter, Mrs. Lucy M. Durand Woodman, November 12, 1907. 379. Portrait—Infant son of the Artist. (20X15¾.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 380. Portrait of a Lady. Unfinished. (14X12.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 381. Portrait of a Lady. Unfinished. (14X12.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 382. Head of a Roman. (29½X24¼.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 383. Head of a Roman. (24½X19¾.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 384. Study from Nature—Trees and Rocks upright. (16½X21.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 385. Trees. Pencil Sketch. (22¾X16¾.) A. B. Durand. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. [Pg 44] 386. Ariadne—Enlarged copy for study. (87½X70.) A. B. Durand. From the original of John Vanderlyn. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 387. Landscape. (30X22½.) J. W. Casilear. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 388. A Dream of Arcadia. (11½X13¾.) Thomas Cole. Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 389. Dutch Singers. (25½X19½.) Presented by Mrs. Lucy M. Durand Woodman, November 12, 1907. 390. Portrait of George Bruce, (1781-1866.) (29X36.) Daniel Huntington. Bequest of Matilda Wolfe Bruce, 1908. 391. Escape of the Constitution. (25X36.) Thomas Birch. Bequest of Matilda Wolfe Bruce, 1908. 392. Portrait of David Leavitt. (29X36.) J. B. Flagg. Painted, 1872. Presented by Mrs. James M. Lincoln, January 5, 1908. 393. Portrait of John B. Hall. (25X30.) Oval. H. Inman. Painted, 1839. Presented by the Misses Helen L. and Evelina S. Hale, January 5, 1908. 394. Portrait of Mrs. John B. Hall. (25X30.) Oval. H. Inman. Presented by the Misses Helen L. and Evelina S. Hale, January 5, 1908. 395. Portrait of Francis A. Hall. (13½X15½.) Oval. Presented by the Misses Helen L. and Evelina S. Hale, January 5, 1908. 396. Portrait of George Carpenter. (25X30.) Presented by the Misses Helen L. and Evelina S. Hale, January [Pg 45]5, 1908. 397. Portrait of Mrs. Maria Carpenter. (25X30.) Presented by the Misses Helen L. and Evelina S. Hale, January 5, 1908. 398. Original Sepia of New York, 1852. (51X29.) J. W. Hill. From which the View of New York in 1855 was engraved by C. Mottram and published by G. W. Smith. Presented by Daniel Parish, Jr., January 5, 1908. 399. Portrait of a young man—DePeyster Family. (41X50.) Painted in Flanders and brought to this country by Johannes DePeyster. Bequest of Catherine Augusta DePeyster, 1908. 400. Portrait of a young lady—DePeyster Family. (41X50.) Painted in Flanders and brought to this country by Johannes DePeyster. Bequest of Catherine Augusta DePeyster, 1908. 401. Portrait of a member of the DePeyster Family. (41X50.) Painted in Flanders and brought to this country by Johannes DePeyster. Bequest of Catherine Augusta DePeyster, 1908. 402. Portrait of Col. James DePeyster, (1726-1799.) (46X61.) Gerard Beekman DePeyster. Bequest of Catherine Augusta DePeyster, 1908. 403. Portrait of Abraham DePeyster (1753-.) (22X27.) Gerard Beekman DePeyster. Son of James DePeyster. Bequest of Catherine Augusta DePeyster, 1908. 404. Portrait of Mrs. William Axtell. (40X50.) Daughter of Abraham DePeyster, 1st. Bequest of Catherine Augusta DePeyster, 1908. 405. Portrait of John Livingston, (1714-1788.) (25X30.) Son of Philip Livingston, 1st. Bequest of Catherine Augusta DePeyster, 1908. 406. Portrait of Mrs. John Livingston, (1724-.) (25X30.) Née Catharine DePeyster. [Pg 46] Bequest of Catherine Augusta DePeyster, 1908. 407. Portrait of William Axtell DePeyster. (16½X20½.) Oval. Bequest of Catherine Augusta DePeyster, 1908. 408. Portrait of William Axtell DePeyster. (10X12.) Oval. Bequest of Catherine Augusta DePeyster, 1908. 409. Portrait of Mrs. William Axtell DePeyster, (1800-.) (10X12.) Oval. Née Mary Beekman. Bequest of Catherine Augusta DePeyster, 1908. 410. Portrait of Mrs. William Axtell DePeyster. (8X10.) Oval. Bequest of Catherine Augusta DePeyster, 1908. 411. Portrait of Stephen Van Cortlandt. (7X8½.) Bequest of Catherine Augusta DePeyster, 1908. 412. Portrait of Mrs. Stephen Van Cortlandt. (7X8½.) Née Jane Beekman. Bequest of Catherine Augusta DePeyster, 1908. 413. Portrait. (Unknown figures.) (26X32.) Bequest of Catherine Augusta DePeyster, 1908. 414. Portrait of a Navigator. (Unknown.) (26X32.) Bequest of Catherine Augusta DePeyster, 1908. 415. Portrait of Benjamin West, (1738-1820.) (20X24.) Oval. Abraham Delanoy, Jr. Painted, 1776. Bequest of Catherine Augusta DePeyster, 1908. 416. Landscape. (2½X3½.) Bequest of Catherine Augusta DePeyster, 1908. 417. Portrait of Mary DePeyster McKnight, (1832-.) Miniature. Bequest of Catherine Augusta DePeyster, 1908. 418. Portrait of Elizabeth Van Rensselaer DePeyster. Miniature. [Pg 47] Bequest of Catherine Augusta DePeyster, 1908. 419. Portrait of Catherine Augusta DePeyster. Miniature. Founder of the "William Axtell DePeyster and Mary Beekman DePeyster Memorial Fund" of the Society. Bequest of Catherine Augusta DePeyster, 1908. 420. Portrait of John Divine Jones, (1814-1895.) (52X60.) Daniel Huntington. Founder of the John Divine Jones Fund of the Society. Presented by Louisa F. J. Thorn, in the name of Mrs. John Divine Jones, February 2, 1909. 421. Common Meadow Vole and Rice Field Mouse. (28X22½.) J. J. Audubon. Presented by Archer Milton Huntington, February 2, 1909. 422. Portrait of John Watts DePeyster, (1821-1908.) (34X48.) E. S. Jacquin. Painted, 1907. Presented by Mrs. Howard Townsend Martin, April 6, 1909. 423. Portrait of the Lincoln Family. (37X26.) Frank B. Carpenter. Presented by Warren C. Crane, April 6, 1909. 424. View of Donner Lake, California. (120X72.) Albert Bierstadt. Presented by Archer Milton Huntington, October 5, 1909. 425. Portrait of Matthais Bloodgood, (1803-1890.) (23½X20.) Oval. Presented by the family of Matthais Bloodgood, October 5, 1909. 426. Portrait of Mrs. Matthais Bloodgood (Maria Ackerman). (23½X20.) Presented by the family of Matthais Bloodgood, October 5, 1909. 427. Portrait of John Lawrance, (1750-1810.) (25½X33.) Presented by Anna McWhorter Thomas in the name of George C. [Pg 48]McWhorter, 1909. 428. Portrait of John Lawrance, (1750-1810.) (Copy.) (24½X31½.) Presented by Anna McWhorter Thomas in the name of George C. McWhorter, 1909. 429. Portrait of a Lady. (Unknown.) (26X33½.) Presented by Anna McWhorter Thomas in the name of George C. McWhorter, 1909. 430. Portrait of John Alsop, (1724-1794.) (26X30.) Member of the Continental Congress from New York, 1774-1776. Bequest of Mary Rhinelander King, 1909. 431. Portrait of John Alsop King, (1816-1900.) (20½X25.) Trumbull. Painted about 1830. Bequest of Mary Rhinelander King, 1909. 432. The Genius of Painting. (29X29.) Romanelli. Bequest of Mary Rhinelander King, 1909. 433. Racing Horse "Eclipse." (30X25.) E. Troye. Painted 1834. Bequest of Mary Rhinelander King, 1909. 434. Racing Horse "Sir Henry." (30X25.) E. Troye. Painted 1834. Bequest of Mary Rhinelander King, 1909. 435. Landscape with Figures. (30½X38.) Pannini. Bequest of Mary Rhinelander King, 1909. 436. Little Boys Reaping—Gray and White. (59X24.) Bequest of Mary Rhinelander King, 1909. 437. Portrait of George Washington, (1732-1799.) (5X4.) W. Grimaldi. Painted for Rufus King. Bequest of Mary Rhinelander King, 1909. 438. Portrait of Matilda Hoffman, (1791-1809.) (Miniature.) [Pg 49] Bequest of Mary Rhinelander King, 1909. 439. Portrait of Edward Bement, (1795-1866.) (Miniature.) Presented by his son, Edward Bement, February 8, 1910. 440. Autumn Woods. (54X84.) Albert Bierstadt. Presented by Mrs. Albert Bierstadt, March 1, 1910. 441. Marine View. (60X94.) T. Gudin. Presented by Mrs. Albert Bierstadt, March 1, 1910. 442. Bowling Green, New York, 1860. (33X48.) David Johnson. Purchased by the Society, 1910. 443. View of Upper New York from the East River. (28X40.) Presented by Samuel V. Hoffman, May 3, 1910. 444. New York City from Weehawken. (32X23½.) N. Calyo. Presented by Samuel V. Hoffman, May 3, 1910. 445. Fire of 1835. New York as seen from the Bay with Castle William in the Foreground. (20½X30.) Presented by Samuel V. Hoffman, May 3, 1910. 446. View of New York from the Navy Yard, Brooklyn. (20X29.) Presented by Samuel V. Hoffman, May 3, 1910. 447. Broadway at Grand Street, looking north, 1852. (21X17.) Presented by Samuel V. Hoffman, May 3, 1910. 448. Portrait of Morgan Lewis, (1754-1844.) (29X36.) Charles C. Curran. President of the Society, 1832-1835. From the original by James Herring. Presented by Maturin Livingston Delafield and John Ross Delafield, June 7, 1910. 449. Portrait of Mrs. Horatio Gates (Elizabeth Phillips). (2¾X2¾.) (Miniature.) [Pg 50] Presented by John Austin Stevens, June 7, 1910. 450. Castle Garden, New York City, 1845. (28½X38½.) Presented by Samuel V. Hoffman, October 4, 1910. 451. Portrait of Peter Bryant, M.D., (4½X3.) (Miniature.) Father of William Cullen Bryant. Presented by Anna Fairchild, November 1, 1910. 452. Portrait of Mrs. Peter Bryant, (3½X3¼.) (Miniature.) Mother of William Cullen Bryant. Presented by Anna Fairchild, November 1, 1910. 453. Cameo Head and Bust of William Cullen Bryant, (1794-1878.) (1¾X1½.) Presented by Anna Fairchild, November 1, 1910. 454. Portrait of William Cullen Bryant, (1794-1878.) (4¼X4½.) (Miniature.) Painted, 1819. Foreign Corresponding Secretary of the Society, 1871-1872, and First Vice President, 1873-1878. Presented by Anna Fairchild, November 1, 1910. 455. Portrait of Mrs. William Cullen Bryant, (1797-1865.) (2¾X3¼.) (Miniature.) Presented by Anna Fairchild, November 1, 1910. 456. Portrait of Julia S. Bryant. (3X3¾.) (Miniature.) Daughter of William Cullen Bryant. Presented by Anna Fairchild, November 1, 1910. 457. Portrait of William Gilliland, (1734-1796.) (25X30.) Ralph Earle. Painted, 1789. Bequest of Charlotte E. Draper, 1910. 458. Portrait of David Hosack, M.D., (1769-1835.) (30X36.) Augustus G. Heaton. From the original by Thomas Sully. Corresponding Secretary of the Society, 1814-1816; Second Vice President, 1817; First Vice President, 1818; President, 1820-1827. [Pg 51] Presented by the Artist, November 1, 1910. 459. Portrait of George Washington, (1732-1799.) (35½X29.) Rembrandt Peale. Bequest of Carolina Phelps Stokes, 1910. 460. Portrait of Martha Washington, (1732-1802.) (35½X29.) Rembrandt Peale. Bequest of Carolina Phelps Stokes, 1910. 461. Portrait of Commodore John H. Graham, (1794-1878.) (29X36.) William H. Powell. Bequest of Cornelia Graham Brett, 1911. 462. Portrait of Mrs. John H. Graham (née Milledoler). (36X29.) William H. Powell. Painted, 1839. Presented by Mrs. Herman Von Wechlinger Schulte, April 4, 1911. 463. Portrait of Jean Lazare Vaché, (1762-1833.) (Miniature.) Presented by his great-granddaughter, Isabella Vaché Cox, May 2, 1911. 464. Portrait of Maria Anne Vaché, (1769-1835.) (Miniature), on tortoise shell snuff box. Presented by her great-granddaughter, Isabella Vaché Cox, May 2, 1911. 465. Portrait of John B. Vaché, (1792-1813.) (Miniature.) Presented by his grand-niece, Isabella Vaché Cox, May 2, 1911. 466. Portrait of Jedediah Vincent Huntington, (1815-1862.) (25X30.) Daniel Huntington. Presented by his nephew, Charles R. Huntington, November 14, 1911. 467. Portrait of Henry Aaron Burr. (36½X29¼.) Presented by Mrs. Cornelius H. Van Ness, February 6, 1912. 468. Portrait of Mrs. Henry Aaron Burr. (36½X29½.) Presented by Mrs. Cornelius H. Van Ness, February 6, 1912. 469. Portrait of Emma Louisa Burr. (37X30.) [Pg 52] Presented by Mrs. Cornelius H. Van Ness, February 6, 1912. 470. Portrait of Henry Burr. (24½X18½.) Presented by Mrs. Cornelius H. Van Ness, February 6, 1912. 471. Portrait of Julia Malvina Anderson. (2¾X2½.) Alex. Anderson. Painted, 1820. Presented by her daughter, Miss Mary E. Halsey, October 1, 1912. 472. Portrait of Franklin Pierce, (1804-1869.) (22X27.) Fourteenth President of the United States. Presented by Mrs. Frances M. Gibson, November 12, 1912. 473. Portrait of Benjamin B. Sherman, (1811-1885.) (25X30.) George Gerhard. Painted, 1885. Treasurer of the Society, 1878-1884. Presented, May, 1913, by his son, Charles A. Sherman. 474. Landscape. (14X23¼.) John F. Kensett. Bequest of the late Kate Warner, 1914. 475. The Cavalier's Return. (30X28½.) R. C. Woodville. Bequest of the late Kate Warner, 1914. 476. Children in Storm. (35X25.) Bequest of the late Kate Warner, 1914. 477. Portrait of a Welsh Prince. (44X32.) Bequest of the late Kate Warner, 1914. 478. View of Blackwell's Island, East River. (30X25.) F. F. Palmer. Presented by Daniel Parish, Jr., April 7, 1914. 479. Portrait of William Darlington, M.D., (1782-1863.) (6½X9.) Oval. Jacob Eichholz. Painted at Lancaster, Pa., October, 1810. Presented by Daniel Parish, Jr., April 7, 1914. 480. Portrait of Charles U. Combes. (14X17.) Water Color. David E. Cronin. Painted, 1891. Sergeant 1st New York Mounted Rifles. [Pg 53] Presented by Daniel Parish, Jr., April 7, 1914. 481. Fight Between Union and Confederate Cavalrymen. (11X17.) Water Color. David E. Cronin. Presented by Daniel Parish, Jr., April 7, 1914. 482. Fugitive Slaves in the Dismal Swamp, Va. (17X14.) Water Color. David E. Cronin. Presented by Daniel Parish, Jr., April 7, 1914. 483. Portrait of the Rev. Henry Ward Beecher, (1813-1887.) (24X19.) (Crayon.) Presented by John H. Johnston, April 7, 1915. 484. Portrait of General Ebenezer Stevens, (1751-1823.) (36X27½.) Presented from the estate of Byam Kerby Stevens, in accordance with his wishes, April 30, 1915. 485. Surrender of Lord Cornwallis at Yorktown, Va., Oct. 19, 1781. (40½X60.) Marietta Minnigerode. Painted in 1893. Copied from the original by Trumbull. Presented from the estate of Byam Kerby Stevens, in accordance with his wishes, April 30, 1915. 486. Portrait of Rev. Lazare Bayard. (45½X33.) Father-in-law of Gov. Peter Stuyvesant. Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant. 487. Portrait of Mrs. Lazare Bayard (Judith DeVos.) (45½X33.) Mother-in-law of Gov. Peter Stuyvesant. Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant. 488. Bayard Homestead at Alphen, Holland, with Portraits of Samuel Bayard and Anna Stuyvesant, his wife; sister of Gov. Stuyvesant. (36X47½.) Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant. The above three paintings were brought over by Governor Stuyvesant in 1647. THE BRYAN COLLECTION [Pg 56] THOMAS J. BRYAN Thomas Jefferson Bryan was the son of Guy Bryan and Martha Matlock, his wife. He was born at "Spring Hill," Philadelphia, Pa., about 1800, and died at sea, May 14, 1870, on board the French steamship "Lafayette," while on his way to New York, four days out from Havre, France. Mr. Bryan graduated at Harvard University in 1823 and studied law, but he never practiced his profession, as he had an adequate inheritance. Much of his time was given to foreign travels in forming a valuable collection of paintings. For a time this collection, known as the Bryan Gallery of Christian Art, was displayed on the walls of a spacious room in a house on the corner of Broadway and Thirteenth Street, where an admission fee of twenty-five cents was charged to view the paintings, Mr. Bryan himself being the custodian in charge. He next deposited them in the Cooper Union, and in 1867 he deeded the entire collection to the New York Historical Society, which he catalogued, arranged and added to from time to time until his death in 1870. [Pg 57] THE BRYAN COLLECTION BYZANTINE SCHOOL NO. SUBJECTS OF PAINTINGS. ARTISTS. B-1. Virgin and Child. (15X13.) The Virgin, clothed in a rich crimson drapery which covers the head, holds the infant Christ on her right arm. The child has a gilt globe in his hand. Over his head is seen the date of the picture, MXC. It was brought from the East by the celebrated artist, Papeti, who was sent to Greece by the French Government. (Bryan Collection.) B-2. Triptique. (8X20½.) A very remarkable and elaborate work; and of the highest interest in the history of art. (Bryan Collection.) ITALIAN SCHOOL B-3. A Virgin and Child, with four Saints. (77½X39½.) Guido of Siena. This picture is in perfect condition, and is from the renowned collection of M. Artaud de Montor, in the account of which it was engraved. It is described in the work of Gault de St. Germain (p. 51). (Bryan Collection.) B-4. Virgin and Child, with Saints. (17X9.) Oval Top. Cimabue. From the De Montor collection—engraved. (Bryan Collection.) B-5. Knights at a Tournament. (24X24.) Round. Giotto di Bondone. The frame is as ancient as the picture itself, of which it forms a part. It bears the arms of the Medici family. From the De Montor collection—engraved. [Pg 58] (Bryan Collection.) B-6. Virgin and Child. (12½X8½.) Simone Memmi. The head of the Virgin presents the same type as that exhibited in the portrait of Petrarch's Laura, painted by Memmi, which is in the Library of the Vatican. From the De Montor collection—engraved. (Bryan Collection.) B-7. The Last Judgment. (12½X8½.) Simone Memmi. "Christ, with the cruciform halo, and the elliptical aureola, bordered with cherubim, appears in the heavens. Above, two angels, strangely enough colored entirely blue, sound the trumpet; below, the Virgin and St. John kneel upon the ground, from which rises the cross, on which two angels are looking. On the left, the elect, wearing crowns of gold, mount towards the sky, under the protection of a pitying spirit; on the right, the damned, covered with blood, are delivered to the demons by a minister of divine vengeance. Jesus himself wears a terrible expression. Michael Angelo is, therefore, not the first to have given him this menacing aspect. The general color of the picture pleases the eye by its extreme fineness: the Virgin and St. John by the beauty of their types." To this just and graphic description from the pen of M. Michiels, which appeared in the Gazette de France, it is needless to add anything more. From the De Montor collection. (Bryan Collection.) B-8. The Crucifixion. (8X21.) Taddeo Gaddi. From the De Montor collection. (Bryan Collection.) B-9. St. Jerome, St. Dominic, and St. Francis of Assisi. (15X10.) Oval Top. Taddeo Gaddi. The three Saints stand side by side. There is dignity in the attitudes and the draperies, and harmony in the color of this picture. From the De Montor collection. (Bryan Collection.) B-10. Two Wings of a Tabernacle. (19X8½.) Lorenzo il Monaco. From the De Montor collection. (Bryan Collection.) B-11. A Tabernacle. (24X22.) Giottino. From the De Montor collection. (Bryan Collection.) B-12. St. Anthony. (12X9½.) Triangle. Giottino. From the De Montor collection. (Bryan Collection.) [Pg 59] B-13. St. Dominic. (12X9½.) Triangle. Giottino. From the De Montor collection. (Bryan Collection.) B-14. Crucifixion. (Half of a Triptique.) (14X10.) Buonamico Buffalmacco. From the De Montor collection. (Bryan Collection.) B-15. A Tabernacle. (21X20.) Buonamico Buffalmacco. From the De Montor collection. (Bryan Collection.) SCHOOL OF THE TWELFTH CENTURY B-16. A Tabernacle. (20½X18.) The carved arabesque work indicates the period of this picture, which has been much injured by the hand of time. From the De Montor collection. (Bryan Collection.) ANCIENT VENETIAN SCHOOL B-17. Virgin adoring the Infant Jesus. (18½X11.) The Virgin kneels before her Divine Son. Around are angels, and behind her is Joseph. Above is a company of angels; and, in the distant sky, one is seen appearing to the shepherds. The infant has a crimson, cruciform aureola. In this rudely-drawn picture the future glory of the Venetian School, its gorgeous color, is plainly indicated. (Bryan Collection.) B-18. The Birth of John the Baptist. (24X24.) Uccello. From the De Montor collection. (Bryan Collection.) B-19. Christ in the Garden of Gethsemane. (3½X3½.) Castagno. From the De Montor collection. (Bryan Collection.) B-20. Triumph of Julius Cæsar. (16X60½.) Antonio Dello. From the De Montor collection. [Pg 60] (Bryan Collection.) B-21. The Crucifixion. (15X11.) Botticelli. From the De Montor collection. (Bryan Collection.) B-22. Adoration of the Infant Christ. (79½X5½.) Perugino. [Macrino d'Alba.] The Virgin Mary, St. John the Baptist, St. Jerome, St. Joseph, St. Michael, and the Pope Julius II., are kneeling before the divine infant. Three small Angels, also kneeling, carry the nails and the Cross, emblems of the torture which the new-born should suffer. The Christ bears a striking resemblance to that of the little Jesus, so much admired, in a painting of the same artist, now placed in the Louvre, after having decorated the gallery of the King of Holland. St. Michael strikes the beholder by his noble air and his martial type. The head is evidently the portrait of Gaston de Foix, the model of the chivalry of the day. St. John is the lean prophet of the desert, the ascetic, and the eater of locusts and wild honey. At the top of the picture, three Angels play upon different instruments. In the background are seen the Capitol, the image of Roman power, and the vast ruins of the Coliseum. The head of Joseph, who stands behind St. John, must strike the considerate observer by its close resemblance to the type of Joseph which we find in the Holy Families of Raphael. In the Cherub who holds the Cross, we also find great similarity to the little Angel who occupies so prominent a position in the famous Madonna of Foglino, from the same divine pencil. From the collection Errard. Signed and dated 1509. (Bryan Collection.) B-23. St. John, Weeping. (20½X16½.) Leonardo da Vinci. For the authenticity of this picture, we have the high authority of Mr. Woodburn. (Bryan Collection.) B-24. St. John. (13½X10½.) Oval. Leonardo da Vinci. (Bryan Collection.) B-25. The Birth and Resurrection of Christ. (11X19½.) Raphael. In the centre of the upper compartment, Christ, draped in red, and bearing the emblematic banner of the Cross, rises from an open tomb. His hand is raised with an expression of command. On each side are two soldiers sleeping, and two starting away in fright. A slender tree also is seen upon each side of the tomb; in the distance is a large hill. In the lower compartment are eight figures, besides the infant Christ. Six kneel in a semicircle about the new-born Saviour, who lies in the middle of the foreground. Three of these, on the left, are shepherds. On the right are the Virgin mother and two Angels. Next to Mary sits Joseph; and on the extreme left, a fourth shepherd approaches. Two slender trees here also appear on each side of the composition. In the distance are heavily undulating hills. [Pg 61] Very few Raphaels of this period exist. Those which are in the Vatican and the Louvre, show, in style and handling, an exact similarity to these pictures, which is absolutely conclusive. The donor wishes it to be understood, that, in his opinion, and in that of some of the accomplished and practised experts in Europe, there is not the slightest doubt of the authenticity of these pictures. Only the inexperienced and the uncultivated fail to trace in them the pencil of the divine Raphael. (Bryan Collection.) B-26. Madonna and Child. (28X21½.) Copy from Raphael. An old and admirably executed copy of the Bridgewater Madonna. (Bryan Collection.) B-27. Dance of Cupids. (7X10.) Copy from Raphael. Nine Cupids dance in a ring. On the left, one plays upon double pipes; on the right, another sits upon the ground. This copy is very fine, as it may well be, having been made by no less distinguished an artist than Sassoferrato himself. (Bryan Collection.) B-28. St. George, and St. Anthony of Padua. (47X22½.) Gaudenzio Ferrari. (Bryan Collection.) B-29. Martyrdom of St. Bartholomew. (17X28.) Fra Bartolomeo. (Bryan Collection.) B-30. The Repose in Egypt. (29½X35.) Giorgione. No. B-17 is a specimen of the ancient Venetian style, which should be examined in connection with these productions of the glorious days of that school. (Bryan Collection.) B-31. Prince of Palermo—in Disguise. (22X17½.) Giorgione. Similar to that in the Royal Gallery of Naples, it is distinguished by the Prince holding a flute, and not a staff, a ring on his finger and an amulet in his fur cap. From the collection of the Marquis Sommariva. (Bryan Collection.) B-32. A Concert. (31X37½.) Copy from Giorgione, by Watteau. Two men and a naked female sit in the open air, diverting themselves with music. Another female figure peers at the group from the shrubbery, which is not in the original, but found only in Watteau's Pastiche, No. B-247. [Pg 62] (Bryan Collection.) B-33. The Repose in Egypt. (32½X41½.) Titian. This composition was repeated many times by Titian, and without great variation. This repetition is distinguished by the absence of some figures in the background, and the introduction of a rivulet in the foreground, and a butterfly upon a flower in the right corner. It has twice been found necessary to remove the picture from its canvas: the drapery of the Virgin has suffered somewhat from this and other causes; the other parts of the picture are somewhat injured. (Bryan Collection.) B-34. Portrait of a Lady. (43X40.) Style of Titian. From the collection of R. W. Meade, of Philadelphia. (Bryan Collection.) B-35. St. Jerome, in his Study. (39X29.) School of Titian. Probably a copy by Odvardo Fialetti, scholar of Tintoretto. This is a large copy of a print by Albrecht Dürer. Its color shows it evidently to be of the Venetian School. (Bryan Collection.) B-36. Virgin and Child. (43X36.) Oval. School of Titian. This picture came from the Gallery of Louis Philippe, and on the back was written "Dans la Chambre du Prince." (Bryan Collection.) B-37. Portrait of a Presbyter. (20½X16½.) Tintoretto. (Bryan Collection.) B-38. St. Benedict. (91X54.) Oval Top. Francesco Zucco. The Saint is prostrate before an altar, receiving the black stole from the Virgin: the head of the Saint is worthy the palette of Titian. Signed and dated. Found in New York, by the donor. (Bryan Collection.) B-39. Abraham discarding Hagar and Ishmael. (24½X19½.) Paul Veronese. (Bryan Collection.) B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) Ludovico Brea. From the collection of General D'Espinoy. (Bryan Collection.) [Pg 63] B-41. Christ Shown to the Multitude. (45X40.) Sebastiano del Piombo. This picture, which is in very fine condition, and the principal figure in which much resembles that in the famous picture of Christ looking into Hell, in the Royal Gallery of Madrid, was purchased by the donor in Rome. (Bryan Collection.) B-42. Virgin and Child, with Angels. (44X34½.) Andrea del Sarto. (Bryan Collection.) EARLY FLORENTINE SCHOOL B-43. Virgin and Child, with St. John. (10X81.) It will be noticed that gold is used freely in the halos, and upon the draperies, which fall in somewhat stiff but ample and not unpleasing folds. This picture is from the collection of the Abbé Genoude, known as the translator of the Bible, by which he accumulated a fortune. (Bryan Collection.) B-44. Adoration of the Shepherds. (35½X34.) This picture is from the collection of the Sylvestre family, and was once improperly attributed to Raphael. It bears many of the marks of Garofalo's pencil. (Bryan Collection.) B-45. The Crucifixion. (33X23.) Andrea Mantegna. Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The Christ has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of traits, designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal." It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as Squarcioni, the master of Man[Pg 64] Tegna, had the largest and most varied collection of ancient arms which existed in his day. Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the St. Jerome (B-47) by Correggio, the disciple of Mantegna. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to Mantegna's use of the same material in the work before us; thus showing the direct connection between the manner of the two painters. It is impossible to overrate the historical importance of the juxtaposition of this work of Mantegna with that of Correggio. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit. (Bryan Collection.) B-46. Adoration of the Kings. (19X14.) Andrea Mantegna. Found in Venice, 1859. (Bryan Collection.) B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) Correggio. Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of Correggio. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed." This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of St. Jerome; and also in the color of some of the draperies, particularly in that of the canopy, which in this is striped, while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the Crucifixion by Mantegna (No. B-45). There can be no doubt that this picture is the finished sketch for the well-known St. Jerome, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber. (Bryan Collection.) B-48. Virgin and Child. (34X27.) Correggio. In support of the authenticity of this picture, we have the first authority in England,—that of Mr. Woodburn. The donor thinks it may be Schidone. (Bryan Collection.) ] [Pg 65] B-49. Virgin and Child. (10X8.) Bernardino Luini. (Bryan Collection.) B-50. Virgin and Child, with St. John. (32X25½.) Giulio Romano. This picture was attributed to Cæsari da Sesto, but is now believed by the donor to be by Giulio Romano. It is from the collection of Bishop Luscomb, Paris. (Bryan Collection.) B-51. Portrait of a Princess of Florence. (52X41½.) Agnolo Bronzino. (Bryan Collection.) B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) Agnolo Bronzino. (Bryan Collection.) B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) Copy from Palma. (Vecchio.) (Bryan Collection.) B-54. Charity. (9X6½.) Giuseppe Cesari d'Arpino. (Bryan Collection.) B-55. Virgin and Child. (8X6½.) Annibale Caracci. (Bryan Collection.) B-56. St. Joseph holding the Infant Jesus. (8X6½.) Annibale Caracci. (Bryan Collection.) B-57. St. Paul borne to Heaven by Angels. (19½X15.) Domenichino. "Three angels bear aloft the interpreter of the divine will: one has the form of infancy, another of youth, the third of adolescence. The minister of our Lord raises his hands to heaven, on which he gazes with an expression of burning hope. How he seeks to discover the first rays of the eternal light! How he longs for the moment in which he shall appear before the Almighty! What enthusiasm animates his countenance! I doubt if the ardor of faith could be better shown. The little angel has those brilliant eyes, and that expressive visage, which this master knew so well how to paint; it is certainly not infer
6840	dbpedia	3	96	https://hyperallergic.com/767608/smithsonian-american-art-museum-john-yau-church-nozkowski-catskills-views/	en	Smithsonian American Art Museum Presents “John Yau: Church and Nozkowski and Their Views of the Catskills”	https://hyperallergic-ne…2014.12.12_1.jpg	https://hyperallergic-ne…2014.12.12_1.jpg	[ "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2017/10/Hyperallergic_Cyan_800px.png?fit=800%2C125&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2021/02/12112263_10153030438411400_7141495198742547749_n.jpg?fit=400%2C400&quality=100&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2022/10/SAAM-2014.12.12_1.jpg?fit=1200%2C969&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2022/10/SAAM-1911-1.4.1_2-000001-1200x799.jpg?resize=780%2C519&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/Sugarcane_UHD_041.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/italianita.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/NeonSoulcraft_youarehere-1.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/priscilla-ft.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/Mid-autumn-festival-2024-malaysia.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/swanngalleries-romanbust.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/Rothkochapel.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/07/1.-Francis-Alys-Ricochets-installation-view-Barbican-Art-Gallery-27-June-–-1-September-2024-©-Jemima-Yong-Barbican-Art-Gallery.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/07/Lorna-Mills-Wnrwnrchickndnr.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/Talbotics-Studio-5-Tal-Avitzur.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2024/08/BATTIR.jpg?resize=1200%2C900&quality=95&ssl=1", "https://i0.wp.com/hyperallergic-newspack.s3.amazonaws.com/uploads/2017/10/Hyperallergic_Cyan_800px.png?fit=800%2C125&quality=95&ssl=1" ]	[]	[]	[ "" ]	null	[ "Smithsonian American Art Museum", "Dan Schindel", "Maya Pontone", "Rhea Nayyar", "Lakshmi Rivera Amin", "Isa Farfan", "Anna Souter" ]	2022-10-07T21:30:00+00:00	On October 12, the award-winning art critic, poet, and Hyperallergic editor will examine nature through the contrasting visions of a 19th-century landscape painter and a 20th-century abstractionist.	en	https://hyperallergic-ne…icon-100x100.png	Hyperallergic	https://hyperallergic.com/767608/smithsonian-american-art-museum-john-yau-church-nozkowski-catskills-views/	On Wednesday, October 12 at 6:30pm (ET), join renowned art critic, poet, curator, and writer John Yau for an engaging talk on 19th-century landscape painter Frederic Edwin Church and 20th-century abstractionist Thomas Nozkowski. “John Yau: Church and Nozkowski and Their Views of the Catskills” will focus on how each artist’s vision of nature, as embodied in their paintings, could provide lessons for us today. John Yau was the 2018 recipient of the Jackson Prize in Poetry, followed by a Rabkin Award for his art criticism in 2021. He currently serves as an editor at Hyperallergic and is a professor of Critical Studies at Rutgers University’s Mason Gross School of the Arts. “John Yau: Church and Nozkowski and Their Views of the Catskills” is the second of three talks in the 2022 Clarice Smith Distinguished Lectures in American Art series presented by the Smithsonian American Art Museum. This annual series was established to present new insights in American art from the perspectives of outstanding artists, critics, and scholars. The discussion will take place on Wednesday, October 12, 6:30pm (ET) in person and online. It is free of charge, but registration is required. For more information, visit americanart.si.edu and register now.
6840	dbpedia	0	7	https://jenikirbyhistory.getarchive.net/topics/paintings%2Bin%2Bthe%2Bwalters%2Bart%2Bmuseum	en	387 Paintings in the walters art museum Images: PICRYL	https://cdn2.picryl.com/…-4e7ed2-1024.jpg	https://cdn2.picryl.com/…-4e7ed2-1024.jpg	[ "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvam9yaXMtdmFuLXNvbi1hbGxlZ29yeS1vbi1odW1hbi1saWZlLWdvb2dsZS1hcnQtcHJvamVjdC00ZTdlZDItMTAyNC5qcGc%3D/40/53/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWdub2xvLWJyb256aW5vLXRoZS1mZWFzdC1naXZlbi1ieS1qb3NlcGgtZm9yLWhpcy1icm90aGVycy13YWx0ZXJzLTM3MTA2My1iYjQ0YzgtMTAyNC5qcGc%3D/40/43/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWxiZXJ0by1jYXJsaWVyaS1jaHJpc3QtYmxlc3NpbmctbGl0dGxlLWNoaWxkcmVuLWFtb25nLWNsYXNzaWNhbC1ydWlucy13YWx0ZXJzLTZjZjlhZC0xMDI0LmpwZw%3D%3D/40/52/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWxiZXJ0by1jYXJsaWVyaS1zdC1wZXRlci1iYXB0aXppbmctdGhlLWNlbnR1cmlvbi1jb3JuZWxpdXMtd2FsdGVycy0zNzUwMy1lNTg1MzgtMTAyNC5qcGc%3D/40/51/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWxiZXJ0by1zb3Rpby10aGUtbW91cm5pbmctdmlyZ2luLW1hcnktd2FsdGVycy0zNzExNTUtMGM4NTE2LTEwMjQuanBn/40/118/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWxmcmVkLXN0ZXZlbnMtbmV3cy1mcm9tLWFmYXItd2FsdGVycy0zNzE4My0wZTFkNGMtMTAyNC5qcGc%3D/40/62/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYWxmcmVkLXN0ZXZlbnMtcGFsbS1zdW5kYXktd2FsdGVycy0zNzE0MS0xMDY1YTUtMTAyNC5qcGc%3D/40/51/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTUvMTIvMzEvYWxmcmVkLXN0ZXZlbnMtdGhlLXBhaW50ZXItYW5kLWhpcy1tb2RlbC13YWx0ZXJzLTM3MzIyLTgzYjgxOC0xMDI0LmpwZw%3D%3D/40/50/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW5kcmVhLWFwcGlhbmktdGhlLWVsZGVyLXRoZS1iYXB0aXNtLW9mLWNocmlzdC13YWx0ZXJzLTM3MTAxNy0yZmU3ZDctMTAyNC5qcGc%3D/40/31/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW5kcmVhLWRlbGl0aW8tbWFkb25uYS1hbmQtY2hpbGQtZW50aHJvbmVkLXdpdGgtc2FpbnRzLXdhbHRlcnMtMzc3MTUtZTM1OGRkLTEwMjQuanBn/40/41/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW5kcmVhLWRpLWJhcnRvbG8tbWFkb25uYS1hbmQtY2hpbGQtd2l0aC10aGUtZm91ci1ldmFuZ2VsaXN0cy13YWx0ZXJzLTM3NzE3LTJjZjk5Mi02NDAuanBn/40/59/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW5kcmVhLWRpLWJhcnRvbG8tbWFzc2FjcmUtb2YtdGhlLWlubm9jZW50cy13YWx0ZXJzLTM3MTAxOC0wN2RjYjYtMTAyNC5qcGc%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDkvMTIvMzEvYW5kcmVhcy1qb2hhbm4tamFjb2ItbXVsbGVyLXRoZS1jaHJpc3QtY2hpbGQtd2FsdGVycy0zNzE3OC02ODhjYTctMTAyNC5qcGc%3D/40/29/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NzMvMTIvMzEvYW5kcmV3LWpvaG4taGVucnktd2F5LWJ1bmNoLW9mLWdyYXBlcy13YWx0ZXJzLTM3MTg4Ny0yMjE1YTUtMTAyNC5qcGc%3D/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE1NTAvMTIvMzEvYW5nZWxvcy1iaXR6YW1hbm9zLXZpcmdpbi1hbmQtY2hpbGQtd2l0aC1zYWludHMtamVyb21lLWFuZC1qb2huLXRoZS1iYXB0aXN0LTc4Y2QwZC0xMDI0LmpwZw%3D%3D/40/51/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE1NTAvMTIvMzEvYW5nZWxvcy1iaXR6YW1hbm9zLXZpcmdpbi1hbmQtY2hpbGQtd2l0aC1zYWludHMtamVyb21lLWFuZC1qb2huLXRoZS1iYXB0aXN0LTQzODJjMS0xMDI0LmpwZw%3D%3D/40/46/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW50b25lbGxvLWRhLW1lc3NpbmEtdGhlLXZpcmdpbi1tYXJ5LXJlYWRpbmctd2FsdGVycy0zNzQzMy04OWJkOTUtMTAyNC5qcGc%3D/40/53/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTEvMTIvMzEvYW50b25pby1kYS1mYWJyaWFuby1paS1zYWludC1qZXJvbWUtaW4taGlzLXN0dWR5LXdhbHRlcnMtMzc0MzktNTJiYTY1LTEwMjQuanBn/40/66/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTEvMTIvMzEvYW50b25pby1kYS1mYWJyaWFuby1paS1zYWludC1qZXJvbWUtaW4taGlzLXN0dWR5LXdhbHRlcnMtMzc0MzlmeGQtMjY0YWU0LTEwMjQuanBn/40/66/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW50b25pby1kZWxsYS1jb3JuYS1jaHJpc3QtYmVmb3JlLWNhaWFwaGFzLXdhbHRlcnMtMzc0ODEtZGV0YWlsLWRlNGFkZS0xMDI0LmpwZw%3D%3D/40/33/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW50b25pby1kZWxsYS1jb3JuYS1jaHJpc3QtYmVmb3JlLWNhaWFwaGFzLXdhbHRlcnMtMzc0ODEtN2FiYzJhLTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW50b25pby1kZWxsYS1jb3JuYS1jaHJpc3QtYmVmb3JlLWNhaWFwaGFzLXdhbHRlcnMtMzc0ODFmeGQtZDBiYTQwLTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYW50b25pby1yaW1wYWN0YS1zYWludC1zZWJhc3RpYW4td2FsdGVycy0zNzQ2OS00NzNkNzktMTAyNC5qcGc%3D/40/52/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NzEvMTIvMzEvYW50b25pby1yb3R0YS10aGUtaG9wZWxlc3MtY2FzZS13YWx0ZXJzLTM3MTgyLTUzNDE2Yi0xMDI0LmpwZw%3D%3D/40/48/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYXBvbGxvbmlvLWRpLWdpb3Zhbm5pLWRpLXRvbW1hc28tZXBpc29kZXMtZnJvbS10aGUtc3Rvcnktb2Ytc3VzYW5uYWgtd2FsdGVycy1iZDFiYjQtMTAyNC5qcGc%3D/40/21/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE5MTAvMTIvMzEvYXJtYW5kLXBvaW50LWJ1c3Qtb2YtYS1tYWlkZW4taW4tYS1sYW5kc2NhcGUtd2FsdGVycy0zNzI4MDEtNDIwYjkxLTEwMjQuanBn/40/61/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTEvMTIvMzEvYXJ5LXNjaGVmZmVyLWNocmlzdC13ZWVwaW5nLW92ZXItamVydXNhbGVtLXdhbHRlcnMtMzcxMTEtZWE4YjkyLTEwMjQuanBn/40/58/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTkvMTIvMzEvYXNoZXItYnJvd24tZHVyYW5kLXRoZS1jYXRza2lsbHMtd2FsdGVycy0zNzEyMi1hNjc5NzAtMTAyNC5qcGc%3D/40/49/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYXVndXN0LXhhdmVyLWthcmwtdm9uLXBldHRlbmtvZmVuLXRoZS1tYXJrZXQtYXQtc3pvbG5vay1odW5nYXJ5LXdhbHRlcnMtMzc1My1iYjY5NzYtMTAyNC5qcGc%3D/40/22/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTkvMTIvMzEvYXVndXN0ZS1wYXVsLWNoYXJsZXMtYW5hc3Rhc2ktY291cnRpbmctaW4tYS1nYXJkZW4td2FsdGVycy0zNzE2MjItZGNmYTAzLTEwMjQuanBn/40/50/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYmFydG9sb21lby1kaS1naW92YW5uaS10aGUtbXl0aC1vZi1pby13YWx0ZXJzLTM3NDIxLTJiNDdlNi0xMDI0LmpwZw%3D%3D/40/15/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYmFydG9sb21lby1kaS10b21tYXNvLWRhLWZvbGlnbm8tdGhlLWZ1bmVyYWwtb2Ytc2FpbnQtZnJhbmNpcy1vZi1hc3Npc2ktd2FsdGVycy02N2IxNWEtMTAyNC5qcGc%3D/40/20/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYmVybmFyZGluby1waW50dXJpY2NoaW8tc2FpbnQtamVyb21lLWluLXRoZS13aWxkZXJuZXNzLXdhbHRlcnMtMzcxMDg5LWVhYWNhMi0xMDI0LmpwZw%3D%3D/40/56/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE1MDAvMTIvMzEvYmVybmhhcmQtc3RyaWdlbC1jaHJpc3QtYmVmb3JlLXRoZS1oaWdoLXByaWVzdC13YWx0ZXJzLTM3NjczLWJhNTk2My0xMDI0LmpwZw%3D%3D/40/90/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYmVydG8tZGktZ2lvdmFubmktZGktbWFyY28tc2FpbnQtZnJhbmNpcy1vZi1hc3Npc2ktd2FsdGVycy0zNzY0MC01ZjdmNmQtMTAyNC5qcGc%3D/40/59/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvYmljY2ktZGktbG9yZW56by10aGUtYW5udW5jaWF0aW9uLXdhbHRlcnMtMzc0NDgtODg0ZDJmLTEwMjQuanBn/40/46/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvY2F0YXJpbm8tdmVuZXppYW5vLW1hZG9ubmEtYW5kLWNoaWxkLXRoZS1jcnVjaWZpeGlvbi1hbmQtc2FpbnRzLXdhbHRlcnMtMzc2MzUtODA3NDY0LTEwMjQuanBn/40/37/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTgvMTIvMzEvY2hhcmxlcy1sb3JpbmctZWxsaW90dC1hbnRob255LXZhbi1jb3JsZWFyLXdhbHRlcnMtMzcxMDEtMDU5MGJiLTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NjgvMTIvMzEvY2hhcmxlcy1sb3JpbmctZWxsaW90dC1wb3J0cmFpdC1vZi1hbi11bmtub3duLW1hbi13YWx0ZXJzLTM3OTQtZjg5ZGM1LTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NjAvMTIvMzEvY2hhcmxlcy1sb3JpbmctZWxsaW90dC1wb3J0cmFpdC1vZi1hc2hlci1iLWR1cmFuZC13YWx0ZXJzLTM3NzAtZmRkZmNhLTEwMjQuanBn/40/55/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTkvMTIvMzEvY2hhcmxlcy1yb2JlcnQtbGVzbGllLXRoZS1taW5pYXR1cmUtd2FsdGVycy0zNzIxNC05MWMyM2EtMTAyNC5qcGc%3D/40/52/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE5MDQvMTIvMzEvY2hpbGRlLWhhc3NhbS10aGUtbG9yZWxlaS13YWx0ZXJzLTM3MzEwLWNhYzI3MS0xMDI0LmpwZw%3D%3D/40/49/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvY2hyaXN0aWFuLWFkb2xmLXNjaHJleWVyLWFyYWJzLWluLWVneXB0LXN1bnJpc2Utd2FsdGVycy0zNzEzNi05M2Q4ZDktMTAyNC5qcGc%3D/40/22/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvY2hyaXN0aWFuLWFkb2xmLXNjaHJleWVyLXRoZS1wbGFpbnMtb2YtaHVuZ2FyeS13YWx0ZXJzLTM3NzYtODU3OWQ3LTEwMjQuanBn/40/23/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvY29weS1vZi10aGUtbW9uYS1saXNhLXdhbHRlcnMtMzcxMTU4LWFkOTAwOS0xMDI0LmpwZw%3D%3D/40/52/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvY29ycmVnZ2lvLW1hcnJpYWdlLW9mLXN0LWNhdGhlcmluZS13YWx0ZXJzLTM3OTEyLWFlNTcwYy0xMDI0LmpwZw%3D%3D/40/40/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZGVmZW5kZW50ZS1mZXJyYXJpLXRoZS1ob2x5LWZhbWlseS13aXRoLWFuZ2Vscy13YWx0ZXJzLTM3NzExLWE4M2JjMi0xMDI0LmpwZw%3D%3D/40/78/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4ODcvMTIvMzEvZWFzdG1hbi1qb2huc29uLXRoZS1uYW50dWNrZXQtc2Nob29sLW9mLXBoaWxvc29waHktd2FsdGVycy0zNzMxMS0xZjQ0NDQtMTAyNC5qcGc%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MzQvMTIvMzEvZWR1YXJkLWJpZXJtYW5uLW1vbmtzLWF0LXByYXllci1pbi1hLWNsb2lzdGVyLXdhbHRlcnMtMzcxMjg1LWUzYTJkNC0xMDI0LmpwZw%3D%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NzcvMTIvMzEvZWR1YXJkLWt1cnpiYXVlci10aGUtZGlzcHV0ZS13YWx0ZXJzLTM3MTAyLThjNjY2Yy0xMDI0LmpwZw%3D%3D/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NjYvMTIvMzEvZWR1YXJkby16YW1hY29pcy15LXphYmFsYS1zcGFpbi0xODEyLWZyZW5jaC1vY2N1cGF0aW9uLXdhbHRlcnMtMzczOS00ZjUzNDMtMTAyNC5qcGc%3D/40/34/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4OTkvMTIvMzEvZWR3YXJkLW1pdGNoZWxsLWJhbm5pc3Rlci1ib3N0b24tc3RyZWV0LXNjZW5lLWJvc3Rvbi1jb21tb24td2FsdGVycy0zNzI3NjYtYzY5ZmJiLTEwMjQuanBn/40/57/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZW1pbGUtdmFuLW1hcmNrZS1kZS1sdW1tZW4tZWFybHktbW9ybmluZy13YWx0ZXJzLTM3MTQzLTJhN2ZiOC0xMDI0LmpwZw%3D%3D/40/48/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZW1pbGUtdmFuLW1hcmNrZS1kZS1sdW1tZW4tdGhlLWFwcHJvYWNoLW9mLWEtc3Rvcm0td2FsdGVycy0zNzc3LTQxNzAzZS0xMDI0LmpwZw%3D%3D/40/29/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4MzQvMTIvMzEvZW1tYW51ZWwtYWRvbHBoZS1taWR5LWxpdHRsZS1icmV0b24tcGVhc2FudC1naXJsLXdhbHRlcnMtMzcxNTkyLTA5ZDQ4NC0xMDI0LmpwZw%3D%3D/40/64/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZW5nbGlzaC1laHJlbmJyZWl0c3RlaW4td2FsdGVycy0zNzM2LTNhNGRlMy0xMDI0LmpwZw%3D%3D/40/32/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZXJjb2xlLWRlLXJvYmVydGktaGVhZC1vZi1hLW1vdXJuaW5nLXdvbWFuLXdhbHRlcnMtMzcxNzA3LTVjNDZiNy0xMDI0LmpwZw%3D%3D/40/52/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1taWNoYWVsLWFuZC10aGUtY3Jvc3Npbmctb2YtdGhlLXJlZC1zZWEtd2FsdGVycy0zNjEzMS1kZXRhaWwtY2JhYWQ0LTEwMjQuanBn/40/118/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1taWNoYWVsLWFuZC10aGUtY3Jvc3Npbmctb2YtdGhlLXJlZC1zZWEtd2FsdGVycy0zNjEzMS1kZXRhaWwtMDczZDllLTEwMjQuanBn/40/53/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1taWNoYWVsLWFuZC10aGUtY3Jvc3Npbmctb2YtdGhlLXJlZC1zZWEtd2FsdGVycy0zNjEzMS04NWYzNjUtMTAyNC5qcGc%3D/40/166/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1yYXBoYWVsLWFuZC10aGUtbWlyYWNsZS1vZi10aGUtc2VhLW1vbnN0ZXItd2FsdGVycy0zNjEzMi1jZGYzNzUtMTAyNC5qcGc%3D/40/142/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1yYXBoYWVsLWFuZC10aGUtbWlyYWNsZS1vZi10aGUtc2VhLW1vbnN0ZXItd2FsdGVycy0zNjEzMi0yNWE5NzktMTAyNC5qcGc%3D/40/39/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXRoaW9waWFuLWFyY2hhbmdlbC1yYXBoYWVsLWFuZC10aGUtbWlyYWNsZS1vZi10aGUtc2VhLW1vbnN0ZXItd2FsdGVycy0zNjEzMi05MTJlMWItMTAyNC5qcGc%3D/40/181/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTAvMTIvMzEvZXRoaW9waWFuLWRpcHR5Y2gtaWNvbi13aXRoLXNhaW50LWdlb3JnZS1hbmQtbWFyeS1hbmQtdGhlLWluZmFudC1jaHJpc3Qtd2FsdGVycy1jOWNjNTktMTAyNC5qcGc%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTAvMTIvMzEvZXRoaW9waWFuLWRpcHR5Y2gtaWNvbi13aXRoLXNhaW50LWdlb3JnZS1hbmQtbWFyeS1hbmQtdGhlLWluZmFudC1jaHJpc3Qtd2FsdGVycy05YjM1NDctMTAyNC5qcGc%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTAvMTIvMzEvZXRoaW9waWFuLWRpcHR5Y2gtaWNvbi13aXRoLXNhaW50LWdlb3JnZS1hbmQtbWFyeS1hbmQtdGhlLWluZmFudC1jaHJpc3Qtd2FsdGVycy0wYjRmZjAtMTAyNC5qcGc%3D/40/28/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stZjcwZjMzLTEwMjQuanBn/40/40/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stYWRjYjQ0LTEwMjQuanBn/40/40/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stMWQ1NTg3LTEwMjQuanBn/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stYTIyODFlLTEwMjQuanBn/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stOTE4Y2M3LTEwMjQuanBn/40/20/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLWRvdWJsZS1zaWRlZC1kaXB0eWNoLXdpdGgtbWFyeS1hdC1kYWJyYS1tZXRtYXEtZnJvbnQtc2FpbnRzLWJhY2stZDE5N2VjLTEwMjQuanBn/40/20/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTAvMTIvMzEvZXRoaW9waWFuLWZvbGRpbmctcHJvY2Vzc2lvbmFsLWljb24taW4tdGhlLXNoYXBlLW9mLWEtZmFuLXdhbHRlcnMtMzY5LW9wZW4tOTUzYTkxLTEwMjQuanBn/40/11/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtZWE5YWNjLTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtOGQwNmFmLTEwMjQuanBn/40/47/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtZDA4ZDFiLTEwMjQuanBn/40/34/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtMGEwNzA4LTEwMjQuanBn/40/34/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtMzg4M2JmLTEwMjQuanBn/40/25/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE3NTAvMTIvMzEvZXRoaW9waWFuLWZyb250LW9mLWEtZG91YmxlLXNpZGVkLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWFuZC1zYWludC1nZW9yZ2UtYjQ1NTFjLTEwMjQuanBn/40/25/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZXRoaW9waWFuLXJpZ2h0LWRpcHR5Y2gtcGFuZWwtd2l0aC12aXJnaW4tYW5kLWNoaWxkLWZsYW5rZWQtYnktYXJjaGFuZ2Vscy13YWx0ZXJzLTM3MjVjMi0xMDI0LmpwZw%3D%3D/40/39/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLXNlbnN1bC1mb2xkaW5nLWlsbHVtaW5hdGVkLWJvb2std2FsdGVycy0zNjEwLW9wZW4tNGExNmVmLTEwMjQuanBn/40/8/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLXRoZS12aXJnaW4tYW5kLWNoaWxkLXdpdGgtYXJjaGFuZ2Vscy1zY2VuZXMtZnJvbS10aGUtbGlmZS1vZi1jaHJpc3QtNjRkOWEyLTEwMjQuanBn/40/57/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLXRoZS12aXJnaW4tYW5kLWNoaWxkLXdpdGgtYXJjaGFuZ2Vscy1zY2VuZXMtZnJvbS10aGUtbGlmZS1vZi1jaHJpc3QtZTJlZTIwLTEwMjQuanBn/40/58/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE2NTAvMTIvMzEvZXRoaW9waWFuLXRoZS12aXJnaW4tYW5kLWNoaWxkLXdpdGgtYXJjaGFuZ2Vscy1zY2VuZXMtZnJvbS10aGUtbGlmZS1vZi1jaHJpc3QtN2E3ZDg0LTEwMjQuanBn/40/31/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZXRoaW9waWFuLXRyaXB0eWNoLWNlbnRlci1wYW5lbC13aXRoLW1hcnktYW5kLWhlci1zb24tYW5kLWNocmlzdC10ZWFjaGluZy10aGUtMzU5ZWVmLTEwMjQuanBn/40/33/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE1NTAvMTIvMzEvZXRoaW9waWFuLXRyaXB0eWNoLXdpdGgtbWFyeS1hbmQtaGVyLXNvbi1hcmNoYW5nZWxzLXNjZW5lcy1mcm9tLWxpZmUtb2YtY2hyaXN0LTNhNTRmYi0xMDI0LmpwZw%3D%3D/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZXVnZW5pby1sdWNhcy15LXBhZGlsbGEtdGhlLXByb2Nlc3Npb24td2FsdGVycy0zNzE2MS1hNzRhZjMtMTAyNC5qcGc%3D/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZmVyZGluYW5kLWhlaWxidXRoLXBpbmNpYW4taGlsbC1yb21lLXdhbHRlcnMtMzc5NjItYTZlODFiLTEwMjQuanBn/40/26/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZmxvcmVudC13aWxsZW1zLXRoZS1oZWFsdGgtb2YtdGhlLWtpbmctd2FsdGVycy0zNzUwLTdkOTY0NS0xMDI0LmpwZw%3D%3D/40/30/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NTAvMTIvMzEvZmxvcmVudC13aWxsZW1zLXRoZS1pbXBvcnRhbnQtcmVzcG9uc2Utd2FsdGVycy0zNzE0MC00ZDlkMzAtMTAyNC5qcGc%3D/40/48/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZm9sbG93ZXItb2YtYW50b25pYXp6by1yb21hbm8tbWFkb25uYS1hbmQtY2hpbGQtd2FsdGVycy0zNzcwMy01ZmQyM2QtMTAyNC5qcGc%3D/40/51/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZnJhbmNlc2NvLWFuZHJlYS1kaS1hbmd1aWxsYS1tYWRvbm5hLW51cnNpbmctdGhlLWNocmlzdC1jaGlsZC13aXRoLWFuZ2Vscy1hbmQtODY5M2FmLTEwMjQuanBn/40/50/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZnJhbmNlc2NvLWFuZHJlYS1kaS1hbmd1aWxsYS1tYWRvbm5hLW51cnNpbmctdGhlLWNocmlzdC1jaGlsZC13aXRoLWFuZ2Vscy1hbmQtODJlYmM2LTEwMjQuanBn/40/61/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDEvMTIvMzEvZnJhbmNlc2NvLWhheWV6LWNocmlzdC1hbmQtdGhlLXdvbWFuLXRha2VuLWluLWFkdWx0ZXJ5LXdhbHRlcnMtMzcxODI1LTU0MGEwYi0xMDI0LmpwZw%3D%3D/40/32/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZnJhbmNlc2NvLW1vcmFuZGluaS1zYWludC1oZWxlbmEtd2FsdGVycy0zNzEwOTYtNzllM2UxLTEwMjQuanBn/40/48/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE5MTUvMTIvMzEvZnJhbmNpcy1ob3BraW5zb24tc21pdGgtb3Zlci1hLWJhbGNvbnktdmVuaWNlLXdhbHRlcnMtMzcxMTA5LTkyNWE5Zi0xMDI0LmpwZw%3D%3D/40/56/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZnJhbmNpcy1zYXJ0b3JpdXMtaS10d28taG9yc2VzLXdpdGgtYS1ncm9vbS13YWx0ZXJzLTM3MjkyOS1iM2MyNDEtMTAyNC5qcGc%3D/40/29/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE0NTAvMTIvMzEvZnJlLXNleW9uLWRpcHR5Y2gtd2l0aC1tYXJ5LWFuZC1oZXItc29uLWZsYW5rZWQtYnktYXJjaGFuZ2Vscy1hcG9zdGxlcy1hbmQtNjViNjg5LTEwMjQuanBn/40/27/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzIwMjEvMDIvMjUvZnJlZGVyaWNrLWVkd2luLWNodXJjaC1tb3JuaW5nLWluLXRoZS10cm9waWNzLXdhbHRlcnMtMzcxNDctNDY4OWY2LTEwMjQuanBn/40/22/jpg", "https://cache.getarchive.net/Prod/thumb/cdn2/L3Bob3RvLzE4NDkvMTIvMzEvZnJlZGVyaWNrLXJpY2hhcmQtbGVlLXItYS1sYW5kc2NhcGUtd2FsdGVycy0zNzE3NC03MmVhNTUtMTAyNC5qcGc%3D/40/29/jpg", "https://jenikirbyhistory.getarchive.net/img/country/en.png", "https://jenikirbyhistory.getarchive.net/img/country/de.png", "https://jenikirbyhistory.getarchive.net/img/country/ru.png" ]	[]	[]	[ "" ]	null	[]	null	Download Images of - Free for commercial use, no attribution required. From: Joris van Son - Allegory on Human Life - Google Art Project, to Frederick Richard Lee, R A - Landscape - Walters 37174. Find images dated from 1000 to 2016.	en	/favicon.ico	PICRYL - Public Domain Media Search Engine	https://jenikirbyhistory.getarchive.net/topics/paintings%2Bin%2Bthe%2Bwalters%2Bart%2Bmuseum	Agnolo Bronzino - The Feast Given by Joseph for His Brothers - Walters... Copy after Agnolo Bronzino (Italian, 1503-1572). 'The Feast Given by Joseph for His Brothers,' 1550-1570. oil on panel. Walters Art Museum (37.1063): Acquired by Henry Walters with the Massarenti Collection, 1902. Alberto Sotio - The Mourning Virgin Mary - Walters 371155 This beautiful panel, one of the oldest Italian paintings in America, is a fragment from the left side, or apron, of a large painted crucifix. With one hand touching her cheek in a tender expression of sorrow, ... More Alfred Stevens - News from Afar - Walters 37183 Stevens depicted domestic interiors, in which he meticulously recorded the latest fashions in dress and furnishings. Here, a young woman, who has apparently just received news from a loved one far away, clutche ... More Alfred Stevens - Palm Sunday - Walters 37141 An elegantly dressed young lady is placing a sprig of box behind the frame of her mother's portrait hanging on the bedroom wall. Another bough, lying on her cloak, is intended for the adjacent miniature, presum ... More Alfred Stevens - The Painter and His Model - Walters 37322 Stevens, a native of Brussels, spent much of his career in Paris where he was regarded as one of the most important recorders of the bourgeois and aristocratic levels of la vie moderne. In this early work, a yo ... More Andrea Appiani the elder - The Baptism of Christ - Walters 371017 As described in the Bible, when John the Baptist baptized Jesus, the heavens opened and the spirit of God descended as a dove. The artist places this scene by the walls of Jerusalem. Concepts of architectural g ... More Andrea di Bartolo - Madonna and Child with the Four Evangelists - Walt... Andrea di Bartolo was the son of the painter Bartolo di Fredi. Like most boys, he began his career in his father's workshop. Although scenes of the Madonna and Child flanked by saints are common, this inclusion ... More Andrea di Bartolo - Massacre of the Innocents - Walters 371018 In an attempt to thwart the prophecy about Christ's rise to power, King Herod orders his soldiers to kill all the male infants under the age of two living in Bethlehem. They do this with ruthless efficiency. Ba ... More Andreas Johann Jacob Müller - The Christ Child - Walters 37178 The sleeping child lies on a sheet of white cloth partially covered by a pink cloth. He is identified by the aureole of light and three stylized rays forming a halo and by the ribbon he holds which is inscribed ... More Andrew John Henry Way - Bunch of Grapes - Walters 371887 The grapes in this painting have been identified as the Prince Albert variety, which William T. Walters grew at his Govans estate, Saint Mary's. Way was a Baltimore painter who began his career as a portraitist ... More Angelos Bitzamanos - Virgin and Child with Saints Jerome and John the ... Angelos Bitzamanos (Greek, 1467-1532). 'Virgin and Child with Saints Jerome and John the Baptist,' early 16th century. tempera on panel. Walters Art Museum (37.626): Acquired by Henry Walters with the Massarent ... More Antonello da Messina - The Virgin Mary Reading - Walters 37433 In this devotional panel, the Virgin Mary is depicted reading. Her status as the Queen of Heaven is emphasized by the golden crown-studded with jewels and pearls and adorned with red and white roses-held by the ... More Antonio da Fabriano II - Saint Jerome in His Study - Walters 37439 Saint Jerome (ca. 347-420) was one of the four Latin Fathers of the Church (the others being Saint Augustine, Ambrose, and Gregory the Great) and renowned for his translation of the Bible into Latin. The image ... More Antonio da Fabriano II - Saint Jerome in His Study - Walters 37439FXD Saint Jerome (ca. 347-420) was one of the four Latin Fathers of the Church (the others being Saint Augustine, Ambrose, and Gregory the Great) and renowned for his translation of the Bible into Latin. The image ... More Antonio Rimpacta - Saint Sebastian - Walters 37469 Saint Sebastian was a Roman commander who, according to legend, was executed under Emperor Diocletian (284-305) for being a Christian. First, soldiers attempted to kill him by shooting him with arrows, but he m ... More Antonio Rotta - The Hopeless Case - Walters 37182 A young girl wearing a typical Venetian shawl listens stoically as the shoemaker reports upon the hopeless condition of her boot. The artist has depicted this cluttered interior with characteristic detail. Armand Point - Bust of a Maiden in a Landscape - Walters 372801 Point began his career as a realist, painting scenes set in North Africa. After a trip to Italy in 1893, he became enamored of the works of the Italian artists of the 14th and 15th centuries and adopted their s ... More Ary Scheffer - Christ Weeping Over Jerusalem - Walters 37111 Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhib ... More Asher Brown Durand - The Catskills - Walters 37122 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, ... More August Xaver Karl von Pettenkofen - The Market at Szolnok, Hungary - W... Szolnok, located on the Theiss River in central Hungary, was an important market center of 11,000 inhabitants in the mid 19th century. Pettenkofen first visited it in 1851, and returned repeatedly over the next ... More Bartolomeo di Giovanni - The Myth of Io - Walters 37421 The ancient Roman poet Ovid, in his "The Metamorphoses," told the story of the nymph Io who was seduced by Jupiter, the king of the gods. When his wife Juno became jealous, Jupiter transformed Io into a heifer ... More Bartolomeo di Tommaso da Foligno - The Funeral of Saint Francis of Ass... A narrative panel from an altarpiece devoted to Saint Francis, this image combines the funeral of the saint (died 1226) with his canonization by Pope Gregory IX in 1228. The saint's body lies on a bier surround ... More Bernardino Pinturicchio - Saint Jerome in the Wilderness - Walters 371... St. Jerome (ca. 347-420), one of the four Latin Fathers of the Church (along with Sts. Augustine, Ambrose, and Gregory the Great), is particularly famous for translating the Bible into Latin, known as the Vulga ... More Bernhard Strigel - Christ Before the High Priest - Walters 37673 These four panels (Walters 37.665, 37.666, 37.672, and 37.673) depicting episodes from Christ's Passion were originally part of a "polyptych" or multi-paneled altarpiece commissioned by the Carthusian monastery ... More Berto di Giovanni di Marco - Saint Francis of Assisi - Walters 37640 Saint Francis (ca. 1182-1226) was the patron saint and founder of the Franciscan Order. Late in life he had a vision, which left him with wounds in hands and feet like those of the crucified Christ. Here, he is ... More Bicci di Lorenzo - The Annunciation - Walters 37448 This unusually well-preserved and exquisitely painted altarpiece shows the moment when the archangel Gabriel tells the Virgin Mary that she will give birth to the Son of God. The dialogue between them is inscri ... More Catarino Veneziano - Madonna and Child, the Crucifixion, and Saints - ... Painting during a period when artists no longer worked as anonymous craftsmen, Catarino signed this altarpiece prominently, "Catarino from Venice painted [this]." Juxtaposed with the donor's coat of arms (lower ... More Charles Loring Elliott - Anthony Van Corlear - Walters 37101 Although he was an accomplished portraitist, Elliott had received little formal training apart from six months in 1829 spent in the studio of John Quidor (1801-81), who had broken with the traditional realism p ... More Charles Loring Elliott - Portrait of Asher B Durand - Walters 3770 In about 1830, Elliott moved from upstate New York to Manhattan, where he studied briefly with John Quidor (1801-81), a specialist in literary scenes. Otherwise, he was largely self-taught, although he had thor ... More Charles Robert Leslie - The Miniature - Walters 37214 A young woman stares longingly at a portrait miniature of a loved one who is absent. Although born in London to American parents, Leslie was raised in Philadelphia. At the age of 17, he returned to London, whe ... More Childe Hassam - The Lorelei - Walters 37310 During an 1886-89 stay in Paris, this Boston painter experimented with working in oils outdoors. He gradually abandoned the dark-toned palette of the Barbizon masters for the brighter colors of the French Impre ... More Christian Adolf Schreyer - Arabs in Egypt, Sunrise - Walters 37136 When the German artist Schreyer moved to Paris in 1862, critics compared his paintings of the Near East to the works of the orientalists Eugène Delacroix, Alexandre-Gabriel Decamps, and Eugène Fromentin. In 185 ... More Christian Adolf Schreyer - The Plains of Hungary - Walters 3776 A peasant standing on a heavily laden, four-wheeled cart, stares forlornly across the empty landscape. The cart, drawn by a troika of horses, appears to be thoroughly mired in mud. In this barren scene with its ... More Copy of the Mona Lisa - Walters 371158 Leonardo da Vinci (1452-1519) began a portrait of Lisa Gherardini about 1503 and then took with him to France, selling it to the French king in 1516. During the centuries that it remained in the royal collectio ... More Defendente Ferrari - The Holy Family with Angels - Walters 37711 Enthroned as Queen of Heaven, Mary holds her son, who turns with an affectionate gesture to embrace Saint Joseph while angels play music. Mary's husband is pictured as an old man who needs to use glasses to rea ... More Eastman Johnson - The Nantucket School of Philosophy - Walters 37311 Like a number of his fellow genre painters, the Boston artist Eastman Johnson trained abroad in Düsseldorf and later at The Hague, where he became familiar with Dutch 17th-century art. Between 1870 and 1887, Jo ... More Eduard Biermann - Monks at Prayer in a Cloister - Walters 371285 Biermann began his career as a porcelain decorator but eventually became one of the major landscape painters in Berlin. Eduard Kurzbauer - The Dispute - Walters 37102 Four elderly German men are playing cards. One, seated with his back to the viewer, turns his head away from his companions who, in annoyance, begin to rise to their feet. This painting exhibits Kurzbauer's adr ... More Eduardo Zamacois y Zabala - Spain 1812, French Occupation - Walters 37... Two Spanish partisans struggle to dispose of the corpse of a French dragoon by dumping it into a well. The old woman at the entrance carries the helmets and swords of their victim and of another French soldier ... More Edward Mitchell Bannister - Boston Street Scene (Boston Common) - Walt... For years, Bannister painted landscapes with muted colors that recalled the works of the French Barbizon school so popular among New England collectors during the second half of the 19th century. However, in on ... More Emile van Marcke de Lummen - Early Morning - Walters 37143 A white cow drinking in the foreground is about to be joined by three other cows progressing at intervals toward the pool. They are tended by a girl leaning against a gatepost. The scene is drenched by early mo ... More Emile van Marcke de Lummen - The Approach of a Storm - Walters 3777 The son of a Flemish artist employed at the Sèvres Porcelain Manufactory, Van Marcke himself decorated porcelains at Sèvres for nine years. An older colleague, Constant Troyon, encouraged him to paint in oils d ... More Ercole de' Roberti - Head of a Mourning Woman - Walters 371707 Ercole de' Roberti was one of the leading artists of Ferrara. This painting is closely related to the image of one of the mourning women on a famous fresco of the Crucifixion (destroyed in 1606), which the pain ... More Ethiopian - Archangel Michael and the Crossing of the Red Sea - Walter... Together with its companion on the opposite pillar, this work originally flanked the entrance to the "mäqdäs," or sanctuary, of an Ethiopian church, where it served as a guardian figure. Here, the archangel Mic ... More Ethiopian - Archangel Michael and the Crossing of the Red Sea - Walter... Together with its companion on the opposite pillar, this work originally flanked the entrance to the "mäqdäs," or sanctuary, of an Ethiopian church, where it served as a guardian figure. Here, the archangel Mic ... More Ethiopian - Archangel Michael and the Crossing of the Red Sea - Walter... Together with its companion on the opposite pillar, this work originally flanked the entrance to the "mäqdäs," or sanctuary, of an Ethiopian church, where it served as a guardian figure. Here, the archangel Mic ... More Ethiopian - Archangel Raphael and the Miracle of the Sea Monster - Wal... The archangel Raphael is depicted standing above a church built in his honor. The painting illustrates the dramatic highpoint in a story that explains Raphael's relationship to the church. According to legend, ... More Ethiopian - Archangel Raphael and the Miracle of the Sea Monster - Wal... The archangel Raphael is depicted standing above a church built in his honor. The painting illustrates the dramatic highpoint in a story that explains Raphael's relationship to the church. According to legend, ... More Ethiopian - Archangel Raphael and the Miracle of the Sea Monster - Wal... The archangel Raphael is depicted standing above a church built in his honor. The painting illustrates the dramatic highpoint in a story that explains Raphael's relationship to the church. According to legend, ... More Ethiopian - Diptych Icon with Saint George, and Mary and the Infant Ch... This is an extremely well-preserved early example of a diptych (two-panel) icon designed for personal use. The small size of the piece and its brightly painted interior would have enhanced the owner's sense of ... More Ethiopian - Diptych Icon with Saint George, and Mary and the Infant Ch... This is an extremely well-preserved early example of a diptych (two-panel) icon designed for personal use. The small size of the piece and its brightly painted interior would have enhanced the owner's sense of ... More Ethiopian - Diptych Icon with Saint George, and Mary and the Infant Ch... This is an extremely well-preserved early example of a diptych (two-panel) icon designed for personal use. The small size of the piece and its brightly painted interior would have enhanced the owner's sense of ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Double-sided Diptych with Mary at Dabra Metmaq (Front); Sa... The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The ... More Ethiopian - Folding Processional Icon in the Shape of a Fan - Walters ... Painted icons of this type are extremely rare, surviving only at the Walters, the Church of Tana Cherqos on Lake Tana, and the Church of Saint Mary at Däbrä Seyon. Painted on five sheets of parchment that have ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Front of a Double-Sided Diptych with Mary and Her Son, and... This small icon was worn around the neck to ward off evil; it could be hung with either side facing out. This is a small replica of the famous icon known as the "Kwerata Reesu" (Christ with the Crown of Thorns) ... More Ethiopian - Right Diptych Panel with Virgin and Child Flanked by Archa... The paired holes along the outer edge of the right panel indicate that this painting was originally a triptych, now missing its right panel. What is seen here as a right wing is standard iconography for central ... More Ethiopian - The Virgin and Child with Archangels, Scenes from the Life... The central panel of this triptych features a version of Mary and the infant Christ based on a famous icon from the Roman basilica of Santa Maria Maggiore that was believed to have been painted by St. Luke the ... More Ethiopian - Triptych Center Panel with Mary and Her Son and Christ Tea... The imposing figures of Mary with Her Son dominate the center scene. The large, watchful eyes, always powerful in Ethiopian icons, are especially impressive here, as are the fine details of the speckled and jew ... More Ethiopian - Triptych with Mary and Her Son, Archangels, Scenes from Li... This triptych (three-paneled icon) is distinguished by its somber colors, linear patterns, and sense of quiet melancholy. The combination of white and black bands on the wings, which is rare in Ethiopian art, c ... More Eugenio Lucas y Padilla - The Procession - Walters 37161 As a religious procession approaches a church, a scuffle between two lantern-bearers ensues in which the elder is left sprawled on the ground clutching the shattered shaft of his light. Varying degrees of const ... More Ferdinand Heilbuth - Pincian Hill, Rome - Walters 37962 Ferdinand Heilbuth (French, 1826-1889). 'Pincian Hill, Rome,' ca. 1845-1870. watercolor over graphite underdrawing on moderately textured, moderately thick, cream wove paper. Walters Art Museum (37.962): Acquir ... More Florent Willems - The Health of the King - Walters 3750 Five gentlemen, grouped around a table, toast the King. One page is replenishing a wine glass while another stands in attendance. Set in a Renaissance chimney piece in the right background is a marble bust of H ... More Florent Willems - The Important Response - Walters 37140 A lady in early 17th-century attire is seated at a table pondering a letter she is writing. In the background is a high Japanese screen. The artist has lavished great care in the rendering of the contrasting su ... More Follower of Antoniazzo Romano - Madonna and Child - Walters 37703 Follower of Antoniazzo Romano. 'Madonna and Child,' 1461-1550. oil and gold on panel. Walters Art Museum (37.703): Acquired by Henry Walters with the Massarenti Collection, 1902. Francesco Andrea di Anguilla - Madonna Nursing the Christ Child, with ... The motif of the Christ Child playing with his foot while he nurses is quite charming. For more information on this painting, please see Federico Zeri's 1976 catalogue, no. 33, pp. 54-55 where he suggests that ... More Francesco Andrea di Anguilla - Madonna Nursing the Christ Child, with ... The motif of the Christ Child playing with his foot while he nurses is quite charming. For more information on this painting, please see Federico Zeri's 1976 catalogue, no. 33, pp. 54-55 where he suggests that ... More Francesco Hayez - Christ and the Woman Taken in Adultery - Walters 371... Shown is an incident from the Gospel of John (8:3-11). The adulteress, forced into a kneeling position, flails her arms as her executioners prepare to act. To the left stands the serene, imposing figure of Chri ... More Francesco Morandini - Saint Helena - Walters 371096 St. Helena (ca. 247-ca. 327) was the mother of Emperor Constantine the Great (ca. 288-337), who, according to tradition, christianized the Roman Empire. Helena is shown holding the True Cross (the cross on whic ... More Francis Hopkinson Smith - Over a Balcony, Venice - Walters 371109 Smith was born on St. Paul Street, Baltimore. He trained initially as an engineer but later taught himself to paint in watercolors. He traveled extensively, producing watercolors which were reproduced in deluxe ... More Francis Sartorius I - Two Horses with a Groom - Walters 372929 This painting is a noteworthy example of horse portraiture, a genre within the wider field of sporting art, utilized extensively during the 18th and 19th centuries, particularly in Britain, but not without its ... More Fre Seyon - Diptych with Mary and Her Son Flanked by Archangels, Apost... The Christ Child touches his mother's chin with a gesture of affection that was probably inspired by 15th-century Italian paintings then greatly admired at the Ethiopian royal court. Victorious saints on horseb ... More Frederick Edwin Church - Morning in the Tropics - Walters 37147 Inspired by German scientist Baron Alexander von Humboldt, who explored Latin America at the end of the 18th century, Church traveled widely in search of romantic subjects, visiting South America in 1853 and 18 ... More Frederick Richard Lee, R A - Landscape - Walters 37174 From a rise of land a couple of figures overlook a landscape marked by rolling hills partially covered with woods. In the center middleground is a church and beyond a windmill. This view is similar to that foun ... More
6840	dbpedia	2	62	https://syjcc.org/programs-events/	en	PROGRAMS & EVENTS	https://syjcc.org/wp-con…643953703152.jpg	https://syjcc.org/wp-con…643953703152.jpg	[ "https://www.facebook.com/tr?id=861256944826162&ev=PageView&noscript=1", "https://syjcc.org/wp-content/uploads/2022/04/SYJCC_LOGO_2022_f_color_tagline_w-300x144.jpg", "https://syjcc.org/wp-content/uploads/2022/07/Arch_of_Titus_Menorah.png", "https://syjcc.org/wp-content/uploads/2021/12/musical-notes.png", "https://syjcc.org/wp-content/uploads/2024/07/Week-3-Brain-Games-2-300x225.jpg", "https://syjcc.org/wp-content/uploads/2024/07/Group_Card_Game-300x200.jpeg", "https://syjcc.org/wp-content/uploads/2024/08/beatles-300x207.jpg", "https://syjcc.org/wp-content/uploads/2024/08/depositphotos_23783641-stock-illustration-vector-icon-hands-holding-heart-300x300.jpeg", "https://syjcc.org/wp-content/uploads/2021/08/american-history.jpeg", "https://syjcc.org/wp-content/uploads/2022/01/mindfullness.jpg", "https://syjcc.org/wp-content/uploads/2024/07/heirloom-300x225.jpeg", "https://syjcc.org/wp-content/uploads/2023/03/sports-300x159.jpg", "https://syjcc.org/wp-content/uploads/2022/01/mindfullness.jpg", "https://syjcc.org/wp-content/uploads/2022/10/MusicNotes-300x229.jpeg", "https://syjcc.org/wp-content/uploads/2021/08/current-events-150x150.jpg", "https://syjcc.org/wp-content/uploads/2024/07/B073RTYPLK.PT06-min_1400x-300x294.jpg", "https://syjcc.org/wp-content/uploads/2023/03/flower-planter-300x200.jpg", "https://syjcc.org/wp-content/uploads/2023/03/game-night-300x200.jpeg", "https://syjcc.org/wp-content/uploads/2021/12/musical-notes.png", "https://syjcc.org/wp-content/uploads/2021/08/music.jpg", "https://syjcc.org/wp-content/uploads/2023/01/knit-300x169.jpg", "https://syjcc.org/wp-content/uploads/2024/07/181c64cad6a29548a2a8a6eac29df472-300x232.gif", "https://syjcc.org/wp-content/uploads/2024/07/JewishFoodSocietyRoman_Passover_Seder_PennyDeLosSantos44640-300x174.jpeg", "https://syjcc.org/wp-content/uploads/2024/07/art-classes-in-Greenville-300x162.jpg", "https://syjcc.org/wp-content/uploads/2024/08/ai-computer-300x241.jpeg", "https://syjcc.org/wp-content/uploads/2022/05/israel-300x169.jpg", "https://syjcc.org/wp-content/uploads/2024/08/iq_-211x300.jpg", "https://syjcc.org/wp-content/uploads/2022/02/shabbat-luncheon-300x209.jpg", "https://syjcc.org/wp-content/uploads/2021/08/nutrition-300x188.jpg", "https://syjcc.org/wp-content/uploads/2023/01/gettyimages-1413583709-300x200.jpg", "https://syjcc.org/wp-content/uploads/2022/12/physical-300x197.jpg", "https://syjcc.org/wp-content/uploads/2021/08/chair-yoga-300x225.jpg", "https://syjcc.org/wp-content/uploads/2021/08/sit-n-fit-300x189.jpg" ]	[]	[]	[ "" ]	null	[]	2021-07-13T22:51:16+00:00	SYJCC Adult/Senior Center includes weekday programs & events for older adults. Reading lab, civilization of the Jews, music, movies and more.	en	https://syjcc.org/wp-con…08/fav-syjcc.png	Suffolk JCC	https://syjcc.org/programs-events/	Teen interns and Keve Karalitzky will contemplate how Jewish text could become a bridge between past and present. Using our associations, we will connect the stories of our sages to our own stories. We will make Jewish traditional text relevant to our everyday lives. 11:00 am-12:00 pm Room 24 To Register, please 1:00-2:00 pm Room 24 Music is deeply rooted in our conscious and subconscious minds. Music is part of our culture, history and religion. How we experience it is a very personal thing. This group will explore how music connects us to others and how it helps us build relationships, traditions and memories. 2:00-3:00 pm Hall of Fame A frank discussions led by teen interns on how to bridge the gaps between generations. Teens and adults will find common ground previously not recognized, through spirited discussions on a variety of topics such as education, family, traditions, community, gender roles and much more. Come join the conversation. 2:00-3:00 pm Room 24 Dealer’s choice is a popular Poker format where the player who is dealing the hand has the ability to decide the game that will be played next. This class will also offer Pinochle, Blackjack and Canasta, so join us for an afternoon of cards to learn a new game, test your skills and your luck. 1:00-2:15 pm Hall of Fame February 9, 1964, is probably etched in your memory as a momentous occasion – The Beatles on the Ed Sullivan Show. That signaled the British are coming, the British are coming – and the shape and sound of rock & roll exploded! Everything English was embraced, exalted and fainted over. Hear the history, the stories and the music that defined the 60’s. 1:00-2:00 pm Hall of Fame CARE 2 U brings an expert team of internists, emergency medical specialists, nurse practitioners, and more to your home. This is high quality at a fraction of the cost! Come learn about this innovative new care service. 11:00 am-12:00 pm Room 24 Over the four sessions co-led by teen interns and retired history teacher, Steve Rochester, this group will discuss different topics in American History and the significance of these events in our lives today. 1:00-2:00 pm Playing games can reduce stress, increase energy, and improve brain function. That’s why you need to register today to play brain games. Teen interns will lead our intergenerational group in playing Jeopardy, trivia, Pictionary and more. Help build intergenerational connections and have fun doing it! 2:00-3:00 pm Room 24 Adults meet weekly with teens to share their life stories and experiences. Teens will work to chronicle the life and legacy of their adult partner, culminating in a booklet about their life. A legacy project can include beliefs and values, life lessons, hopes for the future and special memories. Projects will be presented at the August 15th closing event. 2:00-3:00 pm Hall of Fame Are you a sports fan? Come work in groups of adults and teens to create our own Dream Teams of players picked from the best athletes throughout the NBA, NFL, MLB, NHL past and present. Each session will focus on a different sport. Tuesday, August 27, 2024 \| 1:00-2:00 pm Room 24 Keep your brain young with a mixture of trivia questions, knowledge & mind sharpening games! Come challenge yourself with interesting facts and tips for memory, vocabulary, logic and more! Start training your brain today. Mind sharpeners is the perfect brain food. Tuesday, August 20, 2024 \| 1:00-2:00 pm Room 24 Come join us as we sing along through the Great American songbook. These popular tunes are many of the greatest songs of our time. This is an informal and unrehearsed singing session led by our own talented Laurie Byrne. She will also have you singing, sharing, laughing and reminiscing about the movies, plays & actors associated with many of these famous songs. 11:00 am-12:00 pm Room 24 Join us for lively discussions lead by a rotating group of teen facilitators. Each week different news stories will be presented and discussed. This group provides structure for all participants to exchange ideas, opinions and personal stories so that we can all learn from one another 1:00-2:00 pm Hall of Fame We will bring all the excitement of outdoor summer fun inside for you to enjoy without the sweltering heat or the mosquitos! Come play modified Corn Hole, Bad Mitton and other summer favorites. Even star gaze and enjoy making S’mores. Every week is a new adventure, register today and enjoy the wonders of summer. 2:00-3:00 pm Room 24 This class will help you to develop your own unique flower aesthetic and teach you how to master the mechanics of creating simple and beautifully designed bouquets. The arrangements will be delivered to homebound seniors to help brighten up their day! 2:00-3:00 pm Hall of Fame Board games evoke memories of camping trips, power outages spent playing games by candlelight and weekends having fun with family. Games help encourage critical and strategic thinking. Register today and play games with our teen interns. 1:00-2:00 pm Hall of Fame Join Charles Henry and enjoy listening and singing along to all your favorite songs. There is something for everyone. 1:00-2:00 pm Hall of Fame We are bringing The Catskills to the SYJCC! Come and be entertained by the music and laugh at the jokes of Warren Schein. It will be a fun-filled afternoon for all. 11:00 am-12:00 pm Room 8 The satisfaction of expressing with one’s hands is priceless. Come and take part in a project to learn about creating joy through tactile expression. Learn to crochet in a fun and easy manner. All materials will be supplied. Everyone will contribute to the final group project. No experience is needed. 11:00 am-12:00 pm Room 24 Seniors will explore real world production concepts under the direction of skilled teenagers to create engaging video content, visual effects and motion graphics. All are welcome to come and learn techniques to develop and edit content with just modern mobile phones! Project screening at the August 15th closing event. 1:00-2:00 pm Room 24 Jewish comfort food, yum! This class is a modern guide to baking like a Jewish grandmother. In this is four week baking boot camp we will create and enjoy a new recipe each week. So join us and share recipes and memorable stories! 2:00-3:00 pm Room 24 Elevate your artistic abilities with step-by-step lessons that will explore a wide range of artists and the use of different mediums. Led by teen interns, this class will help you learn how to create your own art and become inspired to try new things. Be part of our active community – come and create your own masterpiece Thursday, August 22, 2024 \| 1:00-2:00 pm Room 24 Join David Pinkowitz as he presents a beginner’s briefing and demonstration of Google’s Gemini AI. Bring your cell phone and follow along for your own experience of this exciting new technology. Thursday, August 29, 2024 \| 1:00-2:00 pm Room 24 Come for a frank discussion about events going on in Israel with our Israeli representative, Dagan. How are we in the US affected by what happens in Israel? What can we do to help from right here in New York? Learn about everyday life in this fascinating country! No topics are off the table! Friday, August 23, 2024 \| 1:00-3:00 pm Room 24 Catherine Boyd (Meg Ryan) is a highly intelligent doctoral student at Princeton University and is engaged to stuffy Professor James Moreland (Stephen Fry). Ed Walters (Tim Robbins), a mechanic and all-around regular guy, falls for Catherine and searches for a way to impress her. Believing that the key to Catherine’s heart is his IQ, Ed passes himself off as a physicist with the help of Catherine’s uncle, who just happens to be Albert Einstein (Walter Matthau). Friday, August 30, 2024 \| 12:00-2:00 pm Room 10 Celebrate with us at our Shabbat Luncheon! Enjoy an afternoon filled with food, fun and good friends. Sing and dance to the lively music performed by Mary Sollitto. Please register by 8/23. Call x147 or x146 to reserve a seat. In this chair-based class, you will learn yoga positions, gentle stretching, and breathing techniques to help you maintain flexibility and balance. This class is designed for those that need a chair-based class and are unable to participate in conventional yoga on a mat. Instructor: Diana Mondays \| 11:00 am-12:00 pm Thursdays \| 11:00 am – 12:00 pm (Members only) To Register, please This class allows the participant to exercise while seated or standing depending on the individual’s strength and endurance. The class includes stretching, light hand weights, and stretch bands for resistance strengthening and stretching. Instructor: Kristy Fridays \| 11:00 am-12:00 pm Wednesdays \| 11:00 am-12:00 pm (Members Only) To Register, please
6840	dbpedia	0	57	https://shelleysackett.com/2024/05/	en	InSights	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-003-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-032-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-154-copy-scaled-1-735x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-167-copy-scaled-1-683x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Blueys_Big_Play_22-12-20_Opening_Night_Review_Pics_0017-1024x576.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void-1024x780.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void1-1024x758.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void2-1024x744.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley1-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley2-1024x819.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley-1-1024x717.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_canvas.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Star-of-David-NecklaceJPG-231x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Addis-Neger-400x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p3_JCC-film-fest.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p12_dybbuk2.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0035-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0065-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0326_WEB_ONLY_DO_NOT_PRINT.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0173-edited-scaled-1-1024x683.jpg", "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	[ "Shelley A. Sackett" ]	null	8 posts published by Shelley A. Sackett during May 2024	en	https://s1.wp.com/i/favicon.ico	InSights	null	By Shelley A. Sackett Toni Stone, the subject and title of playwright Lydia R. Diamond’s new drama, has one helluva story to tell. As played by the pitch-perfect Jennifer Mogbock, she is also one helluva terrific storyteller and more than up to the task of narrating the events of her remarkable life. Which is a good thing, because “Toni Stone,” now at the Huntington, ran almost three hours (with a long intermission and delayed start) on opening night last Wednesday. Even before the house lights have dimmed, Collette Pollard’s exciting set has placed us smack in the middle of a baseball field, surrounded by bleachers, scoreboards and night lights. Mogbock, a spitfire of energy and physicality, practically leaps onto the stage. A ball rolls slowly on the ground towards her, and she bends down to pick it up. “The weight of the ball in the hand and the reach,” she announces matter-of-factly as she tosses it in the air. “What this is is what boys are to that girl. This is what I need.” This — baseball in all its statistical, scientific, and athletic glory — is also what she knows, “maybe better than that girl knows boys.” Disarming, genuine, and boundlessly enthusiastic, Stone shares her life’s highlights, from her birth in West Virginia to growing up in St. Paul, Minnesota, to becoming the first woman to play baseball in the Negro Leagues. Every step of the way, her single-minded determination to achieve her dream of playing professional baseball lit her path. Overcoming daunting racial and gender barriers, she landed the second base roster spot with the Indianapolis Clowns, taking Hank Aaron’s place when he moved up to the majors in 1953. Stone’s job, she tells the audience, is to tell her story so history doesn’t forget. The audience’s job, she implies, is to remember it. And to pass it on. With that, the rest of the team bursts onto the stage. Stone introduces them one by one, and then they perform the first of several fabulous dance/acrobatic acts (choreographed by Ebony Williams with original music from Lucas Clopton). These top-notch numbers are a welcome break from the sometimes long stretches of dialogue and give the cast a chance to break loose and shine. Mogbock is the only woman in the 11-member ensemble, and the ten actors take on individual characters as well as Clown teammates. As Millie, a prostitute who befriends Stone and tries to instill some femininity into the baseball-statistic-obsessed tomboy, Stanley Andrew Jackson is a sublime showstopper. Others play Stone’s parents, manager, coach, and husband. With a simple announcement (“He’s white”) and hand gestures, the all-Black cast also takes on white racist characters in subtle but dramatically powerful ways. Through sometimes chronologically disjointed scenes, Stone connects the dots of her personal timeline and, along the way, emotionally connects with the audience. By the end of the play, we don’t just know Stone; we adore her. She is a complex character, as insecure and flighty socially and intellectually as she is confident and down to earth about her knowledge of and ability to excel at baseball. As an athletically gifted kid in St. Paul, she excelled at every sport she tried. When her mother steers her towards more “ladylike” sports like figure skating (cute skirts), she easily wins the top city-wide competition and then begs to go back to the sport she really loves. She hated school both because she was bored and because the teachers pigeon-holed her as mentally impaired, misunderstanding her inability to process social cues and making her feel even more isolated and alone. (“When someone tells you there’s something wrong with your mind, you believe them,” she explains). Yet, there’s nothing wrong with her mind when she’s thinking about a topic that interests her. As she argues with coaches about strategy, spouts baseball card statistics like an AI app, and describes baseball in terms that are poetic and metaphysical, she more than holds her own as confident, shrewd, and articulate. While Diamond keeps the story light and focused on Stone’s journey, she by no means avoids the harsh realities of racism and misogyny in the 1950s. Stone was shunned and harassed by many of her teammates and was deliberately trampled when defending second base by opposing team members who wanted to “take out that woman.” At the same time, she and her teammates share more than the same uniform. They are keenly aware that white team owners are using them both to make money and to make the white teams look superior by having them lose in rigged games. After all, and lest they forget their place, the team’s name, “Clowns,” is branded on their uniforms. Like the Reconstructionist era blackface minstrel “entertainment,” they are supposed to, above all else, entertain. “They know we know what they’re doing to us,” Stone says just as Act I ends. “But we still make them laugh.” Because that’s the only way a Black person or woman could play baseball in a white male world: by playing “their” game by “their” rules. And at the end of the day, the player’s desire to play ball is greater than their pride. The second act (thankfully shorter and tighter) covers a lot of ground. Stone marries and retires from baseball when she ends up spending more time sitting on the bench than playing. She spends a year being a good housewife and then becomes a nurse. Although Diamond drops the ball on dramatic pacing and content at the end, Stone’s words (and Mogbock’s flawless performance) leave the audience with a semblance of closure. “There it is,” she says, summing up her life’s story. “I did a thing. Between the weight of a thing and the reach, there is breath. And in that breath is life.” She pauses, looking straight at the audience and melting the proverbial fourth wall. “I reached.” ‘Toni Stone’ — Written and Directed by Lydia R. Diamond. Inspired by “Curveball: The Remarkable True Story of Tony Stone” by Martha Ackmann. Presented by the Huntington, in an arrangement with Concord Theatricals on behalf of Samuel French. At the Huntington Theatre, 264 Huntington Ave., Boston, through June 16. For more information and to buy tickets, visit https://www.huntingtontheatre.org/ “Bluey’s Big Play” — Story by Joe Brumm. Music by Joff Bush. Presented by BBC Studios and Andrew Kay in association with Windmill Theatre Co. at the Boch Center Wang Theatre. Run has ended. By Shelley A. Sackett It’s true what they say about grandparenthood — there is nothing like it. There are so many things you didn’t even consider doing when childcare duties sucked your days dry of time and energy. But now that those children are grown and have children of their own (and are willing to drive them to meet you at the theater!), the opportunity to not just attend but actually enjoy such events as “Bluey’s Big Play” are the payoff. Which I cashed in last Saturday with my Bluey-obsessed three-year-old grandson. We had a blast. The theatrical adaptation of the Emmy® award-winning children’s television series follows the Heeler family through a full day from sunrise to bedtime. Bluey and Bingo work to keep their dad, Bandit, from reading on his phone. Bluey and his mom, Chilli, talk about his being a good example as a big sister to Bingo. The 45-minute show is approximately as long as six regular “Bluey” episodes, which, although it seemed short by adult standards, was the perfect attention span bandwidth for the preschool crowd. When the lights first went down, a short section set to the familiar music of “The Weekend” with marionette bird puppets was a delight. A family of three birds enchanted with their charming dances and interactions. It was, frankly, magnificent. The puppetry was terrific, and the ambiance was magical, especially when a flock of smaller birds swept across the stage, creating shadows in the sky and on the walls. The audio track for “Bluey’s Big Play” was prerecorded by the voice actors from Bluey, and each character in the show was represented onstage by human-sized puppets. Each puppet requires at least one puppeteer to operate its facial expressions (eyes and eyebrows) and arms, while at times, a second puppeteer is needed for actions that control its legs and tail or to add and remove props from the puppet’s hands. Unfortunately, the puppeteers were very obvious, unlike the recent Daniel Tiger live show, where adults donned life-sized costumes. My grandson’s first comment was, “They’re stuffies (stuffed animals).” There was no mistaking this Bluey show for the real McCoy. Nonetheless, the plotline was easy enough to follow, the lessons important ones to take away. And the swag and free pre-show ice cream added a special touch. But the most special treats came after the story ended. Giant balloons were tossed into the audience and they made their way from row to row as kids (and their parents and grandparents) did quick catch and releases. The final extravagance were bubble cannons that shot geysers of bubbles into the air. Not one child — or adult — left the theater without a wide smile on their face. ‘Touching the Void’ — Based on the book by Joe Simpson. Adapted by David Greig. Directed by Danielle Fauteux Jacques. Scenic and Sound Design by Joseph Lark-Riley; Lighting Design by Danielle Fauteux Jacques; Movement Choreography by Audrey Johnson. Presented by Apollinaire Theatre Company at Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, through May 19. By Shelley A. Sackett Touching the Void is special on so many levels. Presented in the intimate Chelsea Theatre Works theater, director Danielle Fauteux Jacques has done a brilliant job of creating multiple settings (including the side of a mountain in the Peruvian Andes!) with minimal fuss and to maximum effect. The four actors (Patrick O’Konis as Joe, Kody Grassett as Simon, Zach Fuller as Richard, and Parker Jennings as Sarah) are equally stellar, and David Grieg’s script is meaty and engaging. The real star of the play, and an unfortunate rarity these days, is the plot-driven narrative. It is based on climber Joe Simpson’s memoir of his near-death climbing experience, a thrilling and engaging story. There is even a surprise twist ending, which Jacques reveals in a deliciously sly and clever fashion after the curtain falls when the audience least expects it. Even before the play officially starts, the mood is set. A blond, sullen woman, clad in a leather jacket and boots strolls onto the stage. Her mouth is down-turned. She holds an unlit cigarette, sits alone at a booth in a casual pub, gets up to put a song on the jukebox, and sits down again. She nods, looks at the table, and sighs. Jennings is captivating; it’s not easy to stay in character in a vacuum. The effect, thanks also to Jacques’ spot-on lighting, is like a Hopper painting come to life. We learn she is Sarah, Joe’s sister. Joe, we also learn, is presumed dead. She has just come from his body-less wake. Enter Simon, who survived the climb, and Richard, the base camp manager. She insists on hearing the entire story of the climb, from its planning phase in this very “climbers’ pub” to the moment when Simon cut Joe loose, leaving him to perish in a crevasse. She wants to understand what drew her brother to take such a risk. She has to experience the climb as he did to do that because she doesn’t believe he is really dead. Simon and Richard agree to relive the journey with her, and their story, relayed through Sarah’s non-climber eyes, is an enormous one, packed with insight, triumph and peril. It’s also a golden opportunity for director Jacques and sound designer Joseph Lark-Riley to strut their stuff by turning the small stage from the pub to an Andean peak — complete with crunching snow and howling winds that whip the climbers like flags— and back to the pub again. We witness all this in hindsight and by the end, we share Sarah’s doubt about whether Joe really perished. (No spoilers, but the answer awaits over snacks and drinks in the lobby). Simon accommodates Sarah’s need to know how her brother lived, not just how he died. He shows her how to climb, painstakingly using chairs and tipped tables to improvise the feeling and rush of the climb. Only after she can relate on a visceral level does the storytelling begin. Back in 1985, Simon and Joe were experienced Alps climbing buddies who wanted to be the first to climb the West Face of the Andean Siula Grande mountain. Alpine style, which means without extra gear or yuppie brand name accoutrements. “Two men, a rope and the abyss. It’s beautiful, but it’s dangerous,” Joe explains. Accompanied to base camp by their site manager, the amusing and irritating navel-gazer, Richard, the two set off on their impossibly low-tech journey. They make it up, but on the descent, Joe shatters his leg and then disappears over a cliff. With rescue an impossibility and faced with freezing winds and certain death if he didn’t immediately begin his own descent, Simon makes a gut-wrenching decision. Act I ends with him cutting the rope that tethers him to his partner. Act II opens with Joe, alive, incredulously realizing his situation. He is as devastated by his physical problems of having a shattered leg and being at the bottom of a snow abyss as he is psychologically by the reality that his partner cut him loose to save himself. Suddenly, Sarah is by his side, coaxing him on, helping him inch his way out of this Dante’s frozen circle of hell. Is Joe hallucinating? Is Sarah imagining herself by her brother’s side? While the agony of Joe’s navigating his slow descent sometimes feels tedious and overdrawn, trust me — it will all make sense in the end. Touching the Void is an abundance of theatrical pleasures, most notably the performances by the four actors. As Joe and Sarah, Jennings and O’Konis are simply perfect. Fuller imbues Richard with just the right balance of goofiness and competence, and Grassett brings an arm’s length sang froid to Simon that leaves us guessing whether there might not be a few nefarious skeletons in his closet. If you enjoy theater that makes you think and inspires post-show conversation and debate, then this play is a must. Besides marveling at an inspiring production, you are guaranteed to leave wondering how this story could possibly be true. For more information, visit apollinairetheatre.com By Shelley A. Sackett There is always a special buzz in the air before the curtain rises on an Alvin Ailey American Dance Theater performance, but at Saturday’s matinee, the packed house was positively gaga with anticipation. They were not disappointed. For over two hours, the company thrilled its audience, leaving it enraptured and standing in a deafening ovation. Presented by Celebrity Series of Boston at the queenly Boch Wang Theatre, five performances offered three programs: “Ailey Classics,” and two programs featuring new productions by other choreographers. All ended with the full production of Ailey’s signature work, Revelations. “Ailey Classics,” Saturday afternoon’s three-act program, was a brilliant curation of excerpts from eight of Ailey’s jazzy pieces. The first dance, Memoria, is elegant and delicate. Ailey composed it in 1979 as a tribute to his deceased colleague, Joyce Trisler, and there is an otherworldly translucent quality to his choreography. The curtain rises on a Tiffany blue background, a soloist in a flowing white dress flanked by two male companions in purple pants and billowing white shirts. Keith Jarrett’s abstract “Runes” (Charlie Haden’s bass is delicious) adds to the drama and flow as the ensemble encircles and wanders through the triangle of the three principal dancers. The ghostliness of the costumes, beauty of the movement, and entrancing emotiveness of the soloist leaves the audience tingling. Movements II and III of Night Creature (1974) change the mood from ethereal to earthbound and earthy. Set to Duke Ellington’s snappy music, this piece featured Constance Stamatiou as a saucy, sexy flapper who sets the tone and commands our attention. Set in the night world of vintage jazz clubs, the piece is playful and steamy, a toe-tapping delight. A large ensemble struts, leaps and slinks through swing and jitterbug dance moves as they toy with each other and the audience. The star-burst finale is Ailey at his most brilliant. After a brief intermission, a Pu Pu Platter of bite-sized Ailey excerpts maintains the crackle and pop. Pas De Duke (1976) showcases Ellington’s infectious melodies and a charismatic couple, she dressed in a black vest and tight pants, he in a Travolta-worthy white suit. They are synchronicity personified as they cavort in front of a backdrop of pop art bubbles reminiscent of a lava lamp. The program continues with music that is conducive to narrative storytelling. Maskela Langage (1969; ‘Morolo’ by Hugh Maskela) is based on the music of the South African trumpeter Hugh Masekela. It is set in a bar—but the bar itself is in a kind of no men’s land. There is an element of sadness and despair in the way a hot mama dispassionately lures three men to dance with her. At the time he created the piece, Ailey apparently wanted to draw parallels between the era of South African apartheid and the race-induced violence of 1960s Chicago. Love Songs (1972; ‘A Song for You’ by Leon Russell) offers an emotional journey through love and longing, set to a song recorded by Donny Hathaway. Side lit against a black screen, the solo dancer is lyrical and poignant. With For ‘Bird’ — With Love- Excerpts 1 and 2 (1984), Ailey pays tribute to the great Charlie Parker, the now-legendary alto-saxophonist known familiarly as Bird and after whom the jazz club, Birdland, was named. With a disco ball, a big crowd of exotic dancers clad in sparkling beaded costumes and feathered headdresses, and music by Coleridge-Taylor Perkinson, Ailey magnificently recreates the Harlem jazz scene. The dancers, like characters in a musical number from a vintage era film, seem to emulate Parker’s style, swinging and glamming with smooth ease. Excerpt 2 is giddy pleasure, with costumes of red jumpsuits, tails and dancing stick, white suits and red dresses. It is color, joy, and the excitement of top-notch dancing. When Alvin Ailey started in 1958, he envisioned a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African American cultural experience. Since then, his troupe has continued for 66 years with only three artistic directors, the most recent (Robert Battle) since 2011. Of its 32-member ensemble, many have been with the company for more than ten years. Stability and continuity are hallmarks of the Alvin Ailey company. So is ending its performances with Ailey’s 1960 masterpiece, Revelations. Even before the second intermission was over, the audience was writhing in anticipation. Like concertgoers who want to hear their musical idols sing the hit song they know all the words to, these Alvin Ailey groupies were primed and ready. With the first notes of the hauntingly beautiful spiritual “I’ve Been ‘Buked,” they were clapping. By the time the curtain rose a few moments later, they were cheering loudly. And for good reason. Ailey’s classic is a wonderous tapestry of universal themes, emotion, symbolism and — of course — mind-bogglingly exquisite dancing. No matter how many times I have seen it, it never gets old and it never gets boring because I always notice something for the first time. Revelations somehow manages to combine the comfort of greeting an old friend with the delight of discovering something new about them. Divided into three sections, the 36-minute piece was inspired by Ailey’s “blood memories” of growing up in rural Texas during the American Civil Rights Movement of the 1960s. “Pilgrim of Sorrow” is an appeal to God for relief from sorrow and destitution; “Take Me to the Water” represents baptism and the welcoming to the church as a full member; and “Move, Members. Move” depicts a traditional Southern Baptist church service. Four pieces in particular resonated on this most recent viewing. “I’ve Been ‘Buked” opens as a mass of dancers fitted together into a fluid triangle that rises and falls, a pulsating, breathing organism. I never cease to be amazed by the “wow” factor of this use of space and bodies and by the grace and plasticity of the dancers’ arms. “Fix Me Jesus” is a gorgeous duet that ends in a breathtaking arabesque. Three men race around the stage in “Run Sinner Man.” Their muscular moves against a backdrop of pink and red satanic flames heighten the feeling of frenzied entrapment. In “You May Run On,” those delightful fan-flicking congregational women are a swarm of bees, gossiping and forming fluid cliques. Like hens coming home to roost, they carry their milking stools and fans, plopping themselves down whenever and wherever they please. The effect is charming. Notwithstanding the above, Revelations really is a piece that must be experienced live to be understood and appreciated. Reading (and writing) about it is simply no substitute. Its passion and power are palpable. The choreography, with its thrilling athletic leaps, cheery jubilance and tender pas de deux, is peerless. Its ten individual dances, from “I Been ‘Buked” to “Rocka My Soul in the Bosom of Abraham,” are stand-alone masterworks. Strung together as a story that is both timeless and timely, it is a magnum opus that must be witnessed live — again and again. Just ask anyone who was at the Saturday matinee. Thanks to the Celebrity Series of Boston, Alvin Ailey American Dance Theater makes an annual visit to Boston. If you missed it this year, promise yourself you won’t make the same mistake in 2025. Alvin Ailey American Dance Theater. Presented by Celebrity Series of Boston. At Boch Center Wang Theatre through May 5. For more information, go to www.celebrityseries.org/ By Shelley A. Sackett SALEM – “Ethiopia at the Crossroads,” the impressive new exhibit at the Peabody Essex Museum through July 7, celebrates the extraordinary artistic traditions of Ethiopia from their origins to the present day. Co-organized by the Walters Art Museum and the Toledo Museum of Art, the sensory-rich show presents a collection of over 200 objects, ranging from antique painted religious icons, illuminated manuscripts, gospel books, coins, metalwork, and carvings to modern photographic, textile, and multimedia works by contemporary artists. As the first major touring exhibition to examine Ethiopian art in a global context, its curators wisely added many roadmaps that describe and illuminate this often-overlooked African nation’s contribution to the world. Seated in the Horn of Africa between Europe and the Middle East, Ethiopia has played a profound foundational role in the evolution of the region’s history, creativity, and cross-cultural exchanges over two millennia. It has the distinction – despite upheavals – of maintaining its independence as one of the only African nations to resist colonization. Religious art, in particular, emphasizes the outsized role Ethiopia played in the establishment and evolution of the three major Abrahamic religions: Judaism, Christianity, and Islam. Most striking is the place Judaism played in this mix. Prior to the arrival of Christianity, many people in Ethiopia practiced Judaism, perhaps linking back to the meeting of the Ethiopian Queen of Sheba and King Solomon of Israel in the 10th century B.C.E. Known as Beta Israel, the Jewish community in Ethiopia has persisted for over 2,000 years. Most of the Beta Israel community immigrated to Israel in the 1980s and into the 1900s when political destabilization, famine, and religious persecution threatened the country. Operations Moses (1984), Sheba (1985), and Solomon (1991) airlifted over 80,000 Ethiopian Jews to Israel. Nonetheless, the union between Sheba and Solomon yielded a line of Ethiopian kings that lasted until its last emperor, Haile Selassie, was overthrown by a coup d’état in 1974. In the 20th century, Jewish community members produced objects in diverse media that alluded to Ethiopia’s Jewish origins. Two large panels depict a graphic novel-type chronicle of the Queen of Sheba (known as the Ethopian Queen Makǝdda) and King Solomon conceiving King Mǝnilǝk I, the first ruler in a Solomonic line of Ethiopian kings. These epic works (vibrant tempera paint on cotton canvas mounted on board) detail Mǝnilǝk’s journey as an adult to Israel in order to meet his father, King Solomon. His envoy returned to Israel two years later, with the Ark of Covenant, a sacred relic containing two stone tablets inscribed with the Ten Commandments. That ark is said to be located in Ethiopia today, at a church in Aksum. Nearby is a silver necklace crafted by a Beta Israel artist. A stunning pillow sham, created by Yederesal Abuhay, depicts two rabbis and their students in front of a synagogue. In the 1990s through the 2010s, the North American Conference on Ethiopian Jewry created a work program for Ethiopian Jews living in Addis Ababa. With the support of this program, Jewish Ethiopian artists created basketry and textile objects, like this pillow sham that also can double as a Shabbat challah cover. PEM is known for its groundbreaking approach to exhibits, and “Ethiopia at the Crossroads” is no exception. An introductory video provides a panorama of the country’s majestic geography and local inhabitants, including a Jewish man wearing tefillin, kippah, and praying outdoors. A trio of scratch-and-sniff cards invites the visitor to inhale the scents of berbere, frankincense, and Ge’ez manuscripts representing the history and literature of the Ethiopian Orthodox Church. Audio-visual displays highlight Ethiopia’s unique sights and sounds and showcase members of the local Ethiopian diaspora community, which includes an estimated 12,000 people in the Greater Boston area alone. Most striking are the contemporary artworks. Multidisciplinary mixed media collages by Helina Metaferia feature women adorned in elaborate headdresses with messages of resistance and change. Six exciting photographs by Aïda Muluneh combine thought-provoking observations on multigenerational traditions and transitions among Ethopia’s women with a keen sense of design, color, and technical acumen. The first African woman to serve as a commissioned artist for the Nobel Peace Prize, Muluneh’s work questions assumptions about spirituality, mortality, divisions, and community. She draws inspiration from folklore, religious icons, and memories of her grandmother. “These photographs express what it is to be an African woman by encapsulating gender and identity as a celebration of contemporary self-expression. As the first contemporary Ethiopian artist to have her work acquired for PEM’s collection, Muluneh raises awareness of the impact of photography in shaping cultural perceptions,” said Karen Kramer, PEM’s Stuart and Elizabeth F. Pratt curator of Native American and oceanic art and culture. Θ For more information and tickets, visit pem.org. By Shelley A. Sackett MARBLEHEAD – Film fans of the North Shore and neighboring communities will be brought together once again by the International Jewish Film Festival and its carefully curated selection from around the world. Uniquely inspired by Jewish history, culture, and values, all films will be screened at Cinema Salem. Sponsored by Sharon and Howard Rich and Leslie and Bob Ogan, the 11th annual festival runs from May 2-23. Opening night tickets are $20 (includes popcorn and a drink) and closing night is $25 (includes an ice cream reception). All other screenings are $15 with discounted ticket packages available. Cochairs Izzi Abrams and Michelle Myerson and 14 committee members worked tirelessly to create a well-balanced lineup of 10 feature films. The lineup includes documentaries, a comedy, a political thriller, and several dramas set during the Holocaust. This year, there is also an evening of six short films. Four documentaries offer unique glimpses of Jews and Jewish life. “Remembering Gene Wilder” pays affectionate homage to the extraordinary actor and his legacy both on screen and off. Director and cowriter Glenn Kirschbaum will introduce the film and facilitate a Q&A after the screening. The film is scheduled for May 2 at 7 p.m. A humorous and nostalgic tribute to what became known as the Borscht Belt, “The Catskills” features interviews with former waiters, entertainers, and dance instructors, and the best shtick its renowned stand-up comedians can still offer. The film provides an historical overview of early 20th century Jewish immigration to New York and the development of this lavish vacation destination. (May 10, 1 p.m.) “Children of Peace” follows the personal stories of a group of dreamers who embarked on a utopian experiment in the 1970s, giving birth to Neve Shalom – a village envisioned as a model of harmonious coexistence between Arabs and Jews. This film delves into the experiences of the children who came of age in this extraordinary setting, and how they now – as adults – grapple with the harsh realities of political turmoil, war, and societal segregation. (May 15, 7 p.m.) Rounding out the doc category is “Call Me Dancer,” the story of Manish, a young Mumbai street performer who – despite the family and financial odds stacked against him – achieves his dream of becoming a professional dancer with the help of Yehuda Maor, an Israeli ballet teacher who takes him under his wing. (May 23, 7 p.m.) Three films set during the Holocaust focus on personal stories of both Jews and non-Jews. The sublimely shot and scored “Zone of Interest,” winner of the 2024 Academy Awards for Best International Feature Film and Best Sound, is loosely based on the 2014 novel by Martin Amis. It follows the banal and privileged existence of Auschwitz commander Rudolf Höss and his wife Hedwig as they build an idyllic life for their family in the 1940s only yards away from the prison camp and crematoria where atrocities are heard but never seen. (May 5, 7 p.m.) Based on the Cinderella folktale, “Stella. A Life.” is the story of a German-Jewish refugee who flees to Scotland in 1937 and, incognito, finds work at the country estate of a fascist noble, where she is accepted and even falls in love. Desperate to find her parents, Stella struggles with relationships, home, and identity. (May 17, 1 p.m.) On a similar note, “Love Gets a Room,” inspired by true events during the 1942 Nazi occupation of Poland, is the romantic story of a Jewish stage actress who must decide between staying with her lover and escaping the Warsaw ghetto. (May 22, 7 p.m.) On May 8 at 7 p.m., the festival switches gears with “A Night of Shorts,” a showcase of six exciting and thought-provoking short films from across the world, including the 2024 Academy Award nominated, “Letter to a Pig.” The political thriller, “Shoshana,” is inspired by real events. Set in 1930s Tel Aviv – then a new European Jewish city being built on the shores of the Mediterranean – romance, espionage, and violence converge to create a suspenseful and personal time capsule of that dramatic time in Israel’s history. (May 19, 1 p.m.) Finally, on lighter notes, two comedies complete the menu. “Yaniv” is a madcap and absurd tale that unpacks Jewish identity, male friendship, and public education – all in one lighthearted package. After funding is cut for the school musical, a high school teacher in the Bronx resolves to earn it back by recruiting a fellow statistics teacher (who is secretly a card counter and recovering gambling addict) to cheat at an underground card game run by the Hasidic Jewish community. Special guests Amnon Carmi (producer, director, and cowriter) and Benjamin Ducoff (producer, lead actor, and cowriter) will be joining live to introduce the film. (May 4, 1 p.m.) “No Name Restaurant” chronicles a whimsical road trip. When ultra-Orthodox Ben, from Brooklyn, sets out to rescue Alexandria, Egypt’s dwindling Jewish community, he finds himself marooned in the Sinai Desert. His last glimmer of hope rests with Adel, a gruff Bedouin in search of his lost camel. At first, they clash over cultural misunderstandings, until Adel’s broken-down truck unites them in a fight for survival. (May 14, 1 p.m.) Θ For more information and to buy tickets, visit jccns.org. Igor Golyak, founder and artistic director of Arlekin Players Theatre, was an 8-year-old growing up in Kyiv – then part of the Soviet Union – when his family gave him news that would change the trajectory of his life. They told him that he was Jewish. Because the practice of Judaism was suppressed by the state, Golyak had never even heard of Jews. His family moved to Boston in 1990 when he was 11 and – other than returning to Moscow to study theater after graduating from high school – he has called the area home since. In 2009, he founded Arlekin Players, a Needham-based company of mostly Jewish immigrants from the former USSR. It has risen to national and international acclaim, especially since the pandemic and the launch of its ground-breaking Virtual Theater Lab in 2020. The New York Times recently cited Golyak as “among the most inventive directors working in the United States.” Although Golyak has said he never thought he would be a “Jewish theater director,” the company has increasingly presented works that underscore themes of immigration, antisemitism, displacement, and Jewish cultural and religious identity. “It’s what’s happening in our world and in my community. I’m Jewish. These are things that I’m trying to understand. These ideas and questions have captured my attention, my imagination and, at least right now, is what’s compelling to me,” he told the Journal by email. Right after the Oct. 7 Hamas attack, Arlekin Players launched its Jewish Plays Initiative with the goal of shedding light on voices and stories that aren’t being heard; on pain points that are misunderstood; on ideas that are silenced; and on the “beautiful culture of a people that needs to be shared and celebrated.” “The Dybbuk,” its latest project, was adapted by Golyak and Rachel Merrill Moss and will celebrate its U.S. premiere in partnership with the Vilna Shul, Boston’s Center for Jewish Culture, from May 30 through June 23. Steeped in Jewish tradition, folklore, and mysticism, “The Dybbuk” – also known as “Between Two Worlds” – is one of the most widely produced plays in the history of Jewish theater. It was written in 1914 by the Russian S. Ansky and is based on the mystical concept from Hassidic Jewish folklore of the dybbuk, a disembodied human spirit that wanders restlessly until it finds a haven in the body of a living person. In Ansky’s work, a young girl’s father refuses to let her marry her lover, betrothing her to another more worthy suitor. The rejected suitor dies of heartbreak, and his spirit enters the body of his beloved. The two eventually reunite supernaturally. It is the account of two suspended souls trapped between two worlds, tethered to each other yet also displaced. To Golyak, the tale of these disoriented young people is particularly pertinent. “Isn’t this where we live? As Jews, as immigrants? It’s where we so often have lived as Jewish people for centuries: between worlds. It’s our story – ancient and mystical, the story of our ancestors, but also our story of living in America today,” he said. While researching “The Dybbuk,” Golyak learned that its original production in Poland was performed by the Vilna Troupe. When he visited the Vilna Shul in Boston for the first time last fall, he was struck by its history, architectural details, and layers of paint, murals, and Judaica. He could feel the company of several generations, from those Eastern European immigrants who built the shul at the turn of the last century to those who use the space today. As the only surviving landmark of Boston’s immigrant Jewish past, he knew it would be the perfect space to share “The Dybbuk.” Elyse Winick, director of arts and culture at the Vilna, hopes the audience will gain a deeper sense of the 1919 shul that is both a performance venue and a living museum. “This is a rare opportunity to synthesize those two aspects of our identity, deepening both the power of seeing the play and the significance of this extraordinary piece of Boston’s Jewish history,” she said by email. “For us, it is as if the souls of the Polish Vilna Troupe have taken refuge in the Vilna Shul and then come forward to share this tale,” Golyak added. Golyak’s professional and personal lives overlap, his Jewish identity informing both. In an October 2023 article for WBUR, he wrote in support of Israel and expressed shock at the silence from others in the theater world. “I don’t know if I am an American, or a Ukrainian, or if I am somehow an Israeli, but I know that I am a Jew,” he wrote. “The more we are hated, the more I feel I am a Jew.” He believes the theater is important as a place where people can experience others’ truths and wrestle with that exposure. “With war, brokenness, displacement, and a rise in antisemitism happening around us, I want to do plays that help us see each other and untangle how we do what we do as human beings,” he said. In a world where unexplainable hatred exists, he is concerned about his children and the future they may face. “They should be proud of their identity. They are part of a people who feel deeply, think wisely, laugh abundantly, innovate and invent, and will always gather and share food, music and stories,” he said. “They belong wherever they are. And no matter what, they can survive and thrive.” Θ For more information and to purchase tickets, visit arlekinplayers.com. By Shelley A. Sackett Playwright Michael R. Jackson, a heavy-set Black queer man, has brought the concept of sharing to a new level in his Pulitzer Prize and Tony Award-winning musical, “A Strange Loop.” The compulsively introspective show, which runs at 100 intermission-less minutes, spelunks into the deepest crevices of the anguished mind of its hero, Usher, a fat, Black, queer man writing a musical called “A Strange Loop” about a fat, Black queer man who’s writing a musical about a fat Black queer man. It’s a crawl through a wormhole rigged with armed psychological and emotional IEDs, self-loathing, and regrets. It’s also a raucous and playful musical, full of humor, harmony, colorful characters, and even more colorful (potty) language. The play opens on Jon Savage’s effective, slick set of eight cubes lit in Broadway blue neon. (The only guidance Jackson’s script offers is to describe the setting as “A loop within a loop within a loop inside a perception of one man’s reality.”) Characters meant to represent Usher’s thoughts stand inside each cube. They dance. They sing. The effect is a cross between “Shindig” and “Hollywood Squares.” We meet Usher (Kai Clifton) as the Thoughts dress him in his professional usher’s uniform. Usher works to make money in a theater where “The Lion King” reigns while he tries to write his play, a “big, Black, queer-ass, American Broadway show.” As he externally prepares to deal with the patrons who will soon flood the theater’s aisles, his mind is busy writing his play. He eagerly shares this work-in-progress with the audience. ““A Strange Loop” will have black shit! All thoughts. And white shit! It’ll give you uptown and downtown! With truth-telling and butt-fucking! There will be butt-fucking!” he belts out with gleeful forewarning. It’s as if Jackson and Usher want to tip off their audience, “This ain’t no Disney musical, and make no mistake, we aim to deliver,” which they do, especially on the last item. Usher leads a complicated inner life. His mind is a six-lane highway where Thoughts criticize, intimidate, denigrate, and insult his every move. Every time he resolves to dig himself out of his miserable routine, his thoughts disrupt and derail his plans. The supporting cast of Thoughts #1-6, donning eye-catching costumes (Becca Jewett), are a vicious gang representing Usher’s agent (Fairweather), his inner cynic (Your Daily Self Loathing) and a host of other unhelpful characters, most notably Mom and Dad. Through these inner/outer conversations between Usher and himself, Usher reveals his quest to peel back the layers of labels (Black, queer, etc.) and discover who he really is. We learn about all the issues he struggles with, including family pressures to ditch his sexual and professional preferences and embrace the Lord and style of Tyler Perry’s gospel melodramas; trying to figure out what it means to be a Black playwright writing a Black play; and struggling with what today’s world requires if one is to be “Black enough” and “gay enough.” He also is coping with the bull’s eye homophobia, fatphobia, racism, and a white theater industry painted on his back. All this should (and does) sound heartbreaking and overbearing. Yet, Jackson manages to pull off a musical that infuses humor and sincerity into a story replete with sadness, desolation, and rejection. Through seventeen songs, Jackson’s lyrics tell a multilayered story of Usher’s angst-ridden life. He longs for the unhampered freedom white girls have, yet also feels obligated to fulfill Black boy stereotypes (“Inner White Girl”). His doctor tells him he’s not gay enough because he’s only having sex once a year, but when Usher starts using dating apps, the result is predictably humiliating. He meets an engaging, flirtatious stranger only to discover he is a figment of his imagination. The list of disappointments and rejections grows longer. His mother calls him on his birthday to remind him homosexuality is a sin, and his father asks if he’s contracted AIDS yet. The best scenes, dramatically and musically, are those that have anything to do with Gospel music. When Usher’s agent tells him Tyler Perry is looking for a ghostwriter for his next gospel play, Usher turns up his nose in disgust. His Thoughts accuse him of being a “race traitor,” and in a hilarious scene, historical Black figures persuade him to take the job (“Tyler Perry Writes Real Life”). The full replication of a Tyler Perry set and lyrics that skewer Usher’s parents and parody Tyler (“Precious Little Dream/AIDS Is God’s Punishment”) are a welcome break. The actors’ voices (especially Clifton’s) awaken and strut their range and vibrancy. The lyrics are edgy and funny, the tune snappy and toe-tapping. With the exception of distracting and annoying technical problems with the sound mixing (the actors’ voices were frequently not mic’d) and muffled lyrics, the production is effective, from Maurice Emmanuel Parent’s thoughtful direction to David Freeman Coleman’s music direction and conducting. The six Thoughts shine individually and blend seamlessly as an ensemble. But it is Clifton as Usher who literally carries the weight of the show, and he is more than up to the task. Despite the temptation to wash our hands in frustration with this character who can’t seem to get out of his own way, his unfortunate circumstances notwithstanding), Clifton brings an underlying earnestness and likeability that make it impossible to abandon him. Plus, Clifton lets loose a powerful set of pipes during certain numbers (notably the gospel songs). It’s hard to understand Jackson’s real purpose in writing “A Strange Loop.” It takes its title from a Liz Pfair song and from Douglas Hofstadter’s scientific concept that when a person only moves up or down, they’ll end up where they started. In other words, no matter how far or fast they think they’re going, they are essentially marching in place. Jackson, now 43, said that although his play is not formally autobiographical, he began writing it as a monologue in his early 20s when he was experiencing himself as “nothing more than a mass of undesirable fat, Black gay molecules floating in space without purpose.” He wrote Usher as a 26-year-old under unimaginable pressure. He is full of self-doubt and self-loathing, yet compulsively writes about himself in the belief it will magically change him. The more he plumbs his inner self, the more guilt and shame he dredges up. If writing “A Strange Loop” was meant to be Usher’s psychological catharsis, it misses its mark. After all, Usher’s closing words are: “Someone whose self-perception is based upon a lie, Someone whose only problem is with the pronoun “I.” Maybe I don’t need changing Maybe I should regroup ’Cause change is just an illusion. If thoughts are just an illusion, then what a strange, strange loop.” And maybe that is Jackson’s point, after all. Inside his endless, strange loop of destructive thoughts and desperate hope that he can change who he is, Usher is his own worst enemy. Not only does he see himself as a failure, he assumes that everyone sees him as he sees himself. His illusions are negative delusions. It takes someone outside the loop—an impartial audience, for example—to appreciate that underneath this angsty, meek gay Black man beats the heart of a brave, creative person full of caustic wit and laser-sharp insight. We can only hope that Usher and all those suffering as he does can jump off the treadmill of self-doubt and fear, take a deep cleansing breath, and learn to love and accept themselves. ‘A Strange Loop’ — Book, Music and Lyrics by Michael R. Jackson. Directed by Maurice Emmanuel Parent. Music Direction by David Freeman Coleman. Choreographed by Taavon Gamble. Co-produced by SpeakEasy Stage and Front Porch Arts Collective at the Calderwood Pavilion, 527 Tremont Street, through May 25. For more information and tickets, visit https://speakeasystage.com/
6840	dbpedia	0	41	https://www.woodstockart.org/about/board/	en	BOARD - Woodstock Artists Association (WAAM)	https://www.woodstockart…avicon-32x32.png	https://www.woodstockart…avicon-32x32.png	[ "https://www.woodstockart.org/wp-content/uploads/2023/08/WAAM_logo.jpg", "https://www.woodstockart.org/donatebutton-sm-468/", "https://www.woodstockart.org/wp-content/uploads/2018/09/IMG_3264-150x150.jpeg", "https://www.woodstockart.org/wp-content/uploads/2022/09/regina-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2019/09/LaurieMarshall-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2020/07/Bill-Lanford-copy-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2023/10/IMG_1855-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2022/09/diane-king-head-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2020/09/Leavitt-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2024/03/AnnieLewis1-1-150x150.jpeg", "https://www.woodstockart.org/wp-content/uploads/2024/03/PXL_20220824_194118279-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2024/03/image0-150x150.jpeg", "https://www.woodstockart.org/wp-content/uploads/2021/09/Janis_S-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2024/08/Susan-Siegel-Headshot-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2020/05/Tom-Wolf-1-150x150.jpg", "https://www.woodstockart.org/wp-content/uploads/2022/06/GarySchuster-150x150.jpeg", "https://www.woodstockart.org/wp-content/uploads/2018/11/WAAM_Logo_2018_white-e1613266991686.png", "https://www.woodstockart.org/wp-content/uploads/2022/01/NYSCA-Logo-White-1024x286.png" ]	[]	[]	[ "" ]	null	[]	2017-11-22T17:47:30+00:00		en	https://www.woodstockart…avicon-32x32.png	Woodstock Artists Association (WAAM) \| 28 Tinker Street \| Woodstock, NY 12498 \| 845.679.2940 \| info@woodstockart.org	https://www.woodstockart.org/about/board/	Maxine Davidowitz is a painter and printmaker, whose works have been shown in galleries throughout the Hudson Valley and in collections throughout the US. For over 40 years she served as Creative Director for major consumer magazines such as Redbook, Parents, TV Guide, Health, Prevention, More and Modern Farmer, garnering many awards from the Society of Publication Designers and The American Society of Magazine Editors. Her consulting practice included work for Country Living, Consumer Reports’ ShopSmart, Reader’s Digest, Real Simple, and other newsstand publications. Her non-profit volunteer efforts include a 5-year stint on the board of the Stephen Wise Free Synagogue, and since 2013 she has served on the exhibition committee for Gallery Lev Shalem at the Woodstock Jewish Congregation. Email Maxine Regina B Quinn is an encaustic artist who lives and paints in the Northern Catskills after three decades in Vermont’s Northeast Kingdom. Her paintings are rooted in her deep connection to the natural world and sense of stewardship for the fragile balance that allows life to exist and thrive on this planet. Regina serves on the International Encaustic Artists Board as Director of Social Media and on the faculty of the international Painting with Fire course through the Essence of Mulranny Art School in Ireland. She has received several awards for her encaustics including the Faber Birren National Color Award, the Cooperstown Art Association’s Grand Prize, and the WAAM New Visions Award. Her work is displayed at the Carrie Haddad Gallery in Hudson and included in the permanent collections of the Williamsburg Art and Historical Center, in Brooklyn and the Museum of Encaustic Art in Santa Fe, New Mexico. In addition to her art career, Regina has had a parallel career in education as an elementary and middle school teacher, a K-12 principal, and administrator of a variety of statewide initiatives to strengthen STEM education in Vermont and New York. Website: www.reginaBquinn.netInstagram: @GinaBQ Facebook: Regina Bernadette Quinn, https://www.facebook.com/reginabernadette.quinn.5 William Lanford is a Professor of Physics at University at Albany. One of his interests is the applications of physics in art and archaeology and he has taught courses on that topic at Albany and at Yale. He is a member of the Board of Directors, UAlbany Foundation. He has been an external advisor for national laboratories in the U.S. and in Canada. Dr. Lanford had a deep interest in American arts, both decorative and fine. He initiated the creation of the Riders Mills Historic District, now listed on the National Registry of Historic Places. He is currently restoring a 220-year-old house known locally as the Budd Tavern. He has a 25-year interest in the art and the artists of Woodstock and has assembled a number of Woodstock paintings and sculptures, some of which can be seen on his website: www.overbrookart.com. Laurie Felber resides in Woodstock, New York. She earned her B.F.A. from Parsons School of Design, NYC and holds a professional certificate in Arts Administration from NYU and a New Jersey teacher’s certification in the Visual Arts. She was on the faculty of the Visual Arts Center of New Jersey, Summit, before her relocation to the Catskills. Laurie works in multiple mediums including watercolors, oils, and pastels. She has exhibited in the St. John’s on the Mountain juried show (honorable mention) and was accepted into the SitE: Brooklyn show featuring small works. She has participated in the Hoboken open studio tours and her paintings have been displayed at the Beach Haven Municipal Building, Site:Brooklyn Gallery, Hoboken Arts Gallery and Monroe Art Center in Hoboken. Laurie is an active artist member of The Woodstock Artist Association & Museum. Diane King is a fine art photographer and mixed-media conceptual artist whose work is widely held in private collections, and has been exhibited at Art Basal Miami, Art Palm Springs, Art San Diego, The Oculus at the World Trade Center, the Southampton Fine Art Fair, The Center for Photography at Woodstock, WAAM, and in New York City galleries. Her creative aesthetic was formed at an early age while professionally studying ballet, and her contemplative photographic compositions explore the emotional choreography between her subject matter and the voids of negative space. For over 15 years she worked in the publishing, film and television industries. First as a writer, then as Creative Services Director for such publications as Time, Life, Sports Illustrated, and Instyle, where she developed and led key creative initiatives and strategies for Time Warner Inc. She has studied extensively at The International Center for Photography, and finds everlasting inspiration in the Hudson Valley and its artistic community. Tracy Leavitt holds a BFA degree from Maine College of Art (MECA). She is the director of Visions Art Center, which is dedicated to promoting the arts and artists. She has traveled widely designing and conducting artist residencies and workshops, including her farthest away gig at an International School in Yogyakarta, Indonesia. She produced the Hudson Valley Storytelling Festival for 7 years in conjunction with Vassar and Bard Colleges. In 2008 Tracy received a fellowship from Woman’s Studio Workshop and earlier, produced a one-woman performance piece funded by NYFA. Recently, Tracy retired from the art faculty of High Meadow School, an independent school in Stone Ridge, NY, and is now a fulltime painter and curator. In January, Tracy mounted an exhibition at Mid-Hudson Arts Council Gallery entitled “Hot/Cold: Expression in Wax” and is planning her next curatorial project with Wired Gallery. Tracy is an Active Artist Member of WAAM. Enjoying a variety of roles as a designer and artist, Annie first worked as a graphic designer after college. An interest in window display eventually pulled her into that field. A decade later she had an opportunity to design textiles and did so for several NW based sportswear companies. Annie also taught art – her classrooms ranging from garages to art museums. As a volunteer, Annie brought art lessons bedside for children at Fred Hutch Cancer Center. Working with another non-profit, she offered instruction in book arts to adult cancer survivors. Her own mixed media work concentrates on the language of shape and pattern and she has had gallery representation in Denver, Santa Fe, Seattle and most recently, the Hudson Valley. Feeling WAAM offered a welcoming community as well as numerous opportunities for a Seattle transplant, she hopes to contribute to the wellbeing of the beloved organization. Susan Paynter earned her BA in studio art and her doctorate in educational leadership from Seton Hall. She was recognized as the best new artist by the Albuquerque designer craftsmen for her fiber art. Susan has worked in a variety of mediums, including leather jewelry and painting, showing her wearable art in galleries, juried craft fairs, and museum gift shops around the US. Her career in education spans 40 years and includes being chosen as teacher of the year, serving as an assistant superintendent, college professor, and principal as well as publishing a book on innovative education. After relocating to Woodstock, she served as the head of school at High Meadow School, in Stone Ridge. Since retiring as an educator, Susan has devoted her time to environmental activism and has led efforts in fundraising and community building to halt the Terramor development as well as Woodstock National LLC. Susan M. Paynter Ed.D. “One thing we need more than hope is action. Once we start to act, hope is everywhere.” —Greta Thunberg Amanda Russo Rubman is a Hudson Valley based artist, designer, and lifelong learner. She started her career at a boutique creative & marketing agency where she spent a scholarly decade collaborating with clients to bring their vision to life by partnering with, and enabling, creative teams. That time established her foundation of respect for the art of collaboration and talent in all forms. Her travels lead to a luxury design firm, and then her own design studio – further evolving her practice in developing identities for iconic, heritage, and emerging brands. Forever chasing the light and playing with textures, today she leads AR Studio – a home for an evolving collection of her own artwork and collaborations that celebrate New York-based artists and vintage objects. Curating to create a mood – layering texture and style, mixing technique, crossing eras, all an homage to create a beautiful moment to get lost in. Amanda graduated from New York University, Gallatin with a BA in Philosophy. Current medium(s)/ Photography, Film, Clay, Wood, Fiber, Salvaged Materials, Painting… Website/ amandarussorubman.com Instagram/ instagram.com/amanda.russo.rubman Linked In/ linkedin.com/in/amandarusso Janis Staggs is the Director of Curatorial and Manager of Publications at Neue Galerie New York, where she has worked for more than twenty years. She has prior experience at other institutions, including the Cooper Hewitt, Smithsonian Design Museum, the Metropolitan Museum of Art, the Museum of Fine Arts Boston, and the Walters Art Museum. Staggs has organized numerous exhibitions during her career and has lectured and written extensively on the intersection between modern fine and decorative arts with a special focus on the period of fin-de-siècle Vienna. She has a Master of Arts in the History of Decorative Arts from the jointly-administered program offered by the Cooper Hewitt/Parsons School of Design (a division of The New School), a Bachelor of Arts from the University of Maryland, and a Certificate in Strategic Management from the Harvard Extension School. She would bring to the Board a professional background in the arts coupled with a strong interest in the Woodstock community and the history of the Woodstock Art Colony. She and her husband have owned a home in Woodstock since 2017, and they are active collectors of the work of historical and contemporary Woodstock artists. Staggs is passionate about the arts, the town of Woodstock and the surrounding communities, and WAAM in particular, with an enthusiasm to serve on the Board as an Associate Member. Susan Siegel (b. 1964, Los Angeles, California) creates work that engages our connection to the natural world through themes of disintegration, impermanence and metamorphosis. The work is her way of contemplating the essence of our tragic, mysterious and beautiful world. Siegel finds inspiration for her work in ancient art, medieval bestiaries and 18th century natural science histories. Her recent body of work focuses on works on paper including drypoints, etchings, monotypes and experimental collages. Siegel earned an MFA with an emphasis in oil painting from the New York Academy of Art, NY (2010). Prior to her career in the arts, she worked for non-profits engaged in animal welfare and documentary film as well as international marketing in Switzerland. She holds an MBA from Thunderbird, School of Global Management (1989) and a BS in Business from The University of Redlands, CA (1987) Siegel’s work has been exhibited in New York, Chicago and Los Angeles, including the Glass Gallery at Mana Contemporary, Sotheby’s and Flowers Gallery. Her work has been featured by New American Paintings, Hi-Fructose Magazine, and The Wall Street Journal. In 2012 Siegel was the recipient of a studio residency at the Elizabeth Foundation for the Arts. She received the Merit Award at the Silvermine Arts Center’s Paper 2019 exhibit, and In 2023 she was awarded the Woodstock Artist Association and Museum’s Annual Print Award. Siegel lives with her husband, illustrator David Gordon, in Woodstock NY.
6840	dbpedia	0	16	https://www.telegram.com/story/news/local/worcester/2018/09/07/women-of-hudson-river-school-showcased-in-worcester-art-museum-exhibit-of-landscape-artists/10817303007/	en	Hudson River School painters featured at WAM	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/2018/09/06/NTEG/ghows-WT-753b2646-d77a-2150-e053-0100007fbbfb-1cfb9e49.jpeg?crop=1585,1191,x164,y0?width=320&height=240" ]	[]	[]	[ "" ]	null	[ "Nancy Sheehan, Correspondent, The Worcester Telegram & Gazette" ]	2018-09-07T00:00:00	WORCESTER - A new show at Worcester Art Museum of Hudson River School painters features its most famous artists, like Louisa Davis Minot and Mary Josephine Walters. \n You’ve never heard of them? \n Do…	en	https://www.gannett-cdn.…ages/favicon.png	Telegram & Gazette	https://www.telegram.com/story/news/local/worcester/2018/09/07/women-of-hudson-river-school-showcased-in-worcester-art-museum-exhibit-of-landscape-artists/10817303007/	WORCESTER - A new show at Worcester Art Museum of Hudson River School painters features its most famous artists, like Louisa Davis Minot and Mary Josephine Walters. You’ve never heard of them? Don’t worry. The show, “The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society,” which runs Sept. 8 through Nov. 25, also includes the most famous painters of the group, which is, historically, an all-male cast that includes “founding fathers” Thomas Cole and Asher B. Durand. One of the more interesting aspects of the WAM exhibition of 40 unquestionably gorgeous paintings, however, is the inclusion of one work each from the above-mentioned female landscapists, whose contributions have been largely unheralded and, in Minot’s case, only recently discovered. Minot’s 1818 painting of Niagara Falls is the earliest work in the show, which is bookended by Albert Bierstadt’s 1886 work, “Autumn Woods: Oneida County,” a sweeping 54-by-84-inch homage to autumnal glory that greets you immediately as you enter the gallery. The Hudson River School was, in its time, really not so much a formal school as a loosely connected group of painters whose love of the pristine North American landscape launched what has been called the first uniquely American art movement. Among other artists in the WAM show are Jasper Cropsey, John F. Kensett, George Henry Boughton, John Hiram Hotchkiss and William T. Richards. The exhibition, organized by the New York Historical Society from its extensive collection of Hudson River School paintings, reflects the painters’ reverence for America’s scenic splendor at a time when rapid industrialization and the uncontrolled cutting of our once vast forests were carving unsightly swaths on the landscape. Favored locations for the artists were the Catskills and Adirondack Mountains of New York, but also the White Mountains of New Hampshire and coastal New England. As European settlers continued to push ever westward, the landscape artists followed, painting scenes from the still pastoral Midwest to the grandeur of Yosemite. The WAM show focuses on locations closer to home, mostly upstate New York and New England. Historians traditionally trace the Hudson River School’s roots to a trip that British émigré Cole (1801-1848) took to the Catskills in 1825, when the area was still largely wilderness. Cole was so enamored of the area’s unspoiled natural beauty, so different from the smoke-filled air and factory-spawned grime of London, that he began painting landscapes, although the dominant subject matter for painters at the time was portraiture. Asher B. Durand (1796-1886), a successful engraver and a man of means, came across some of Cole’s paintings in a New York bookstore and picture gallery shop and was so taken with them that he was inspired to become a landscape painter himself. The two became good friends, an association that essentially launched Cole’s career and the Hudson River School, as the history is currently written. But, less than a decade ago, two paintings by Minot of Niagara Falls, one of which is in the show, were discovered by an art historian combing through the New York Historical Society’s vast holdings. The painting, of roiling waters thundering over the falls (in the days long before the electric utility that now regulates water flow there) evinces a similar worshipful regard for the natural world that one sees in all Hudson River School paintings, but especially in the somewhat Romantic tone of Cole’s work. “She painted it way before Cole, in fact seven years before he was discovered,” Erin Corrales-Diaz, assistant curator of American art at WAM, said, at a press preview for the show Sept. 6. “It predates what most art historians consider to be the beginning of the Hudson River School.” There are only two known paintings by Minot, both in the New York Historical Society collection. Little else is known about her beyond that she was married with five children and still somehow managed to have a professional art career. She is one of two female landscapists in this exhibition. The other, Mary Josephine Walters, was a student of Durand’s. Her intimate study of a pine-graced pool in the Catskills follows her teacher’s style of focusing on the nature we find close at hand rather than the horizon-spanning vistas of Cole’s or Bierstadt’s work. “We only know about her because Durand’s son wrote Asher B. Durand’s biography and mentions Mary Josephine Walters,” Corrales-Diaz said. Little is known about her life, beyond that fact. “Again, she has sort of been erased from the narrative and we’re only able to pick out bits and pieces,” she said. Corrales-Diaz hopes further research can restore the female Hudson River Painters to their proper place in art history, especially for the trailblazing Minot. “You spend a little more time researching and you realize we had a woman artist who was painting the landscape in a similar way to Cole before Cole,” she said. “What would it be like if we rewrote the Hudson River School narrative to say that it started with a woman artist and she was married, had five children and still managed to have a professional artistic career? There’s only so much we know at the moment, but it just gives us a sense that there is so much more for us to learn about the female landscapists in this school.”
6840	dbpedia	3	43	https://www.handmadepiece.com/autumn-in-the-catskills-handmade-oil-painting-reproduction-on-canvas-by-artist-thomas-cole.html	en	Autumn in the Catskills	https://smhttp-ssl-48028…_ww800_hh587.jpg	https://smhttp-ssl-48028…_ww800_hh587.jpg	[ "https://smhttp-ssl-48028.nexcesscdn.net/pub/media/athlete2/default/logo2.png", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://www.handmadepiece.com/media/images/hk/canvas-only/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-8/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-3/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-3/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-4/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-wood-frame-7545-db/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-8038-dg/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-2/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-1/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-12/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-9/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9356-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-wood-frame-7232-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-4/001.jpg", "https://www.handmadepiece.com/media/images/hk/distressed-classic-frame-8345-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/distressed-classic-frame-6031-dg/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-7/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-q7737-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9334-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9660-dg/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9866-b/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-9660-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-3/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-8260-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-7348-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-7019-101-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/distressed-classic-frame-7534-b/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-21/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-22/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-9848-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-2190-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-12172-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-q5635-4-b/001.jpg", "https://www.handmadepiece.com/media/images/hk/distressed-classic-frame-9642-ds/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9660-ds/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-12/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-23/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-7543-b/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-8038-ds/001.jpg", "https://www.handmadepiece.com/media/images/hk/most-popular-5/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-8260-s/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-wood-frame-9660-s/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-wood-frame-7232-s/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-9356-s/001.jpg", "https://www.handmadepiece.com/media/images/hk/modern-frame-16/001.jpg", "https://www.handmadepiece.com/media/images/hk/ornate-classic-frame-8047-g/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-27/001.jpg", "https://www.handmadepiece.com/media/images/hk/classic-frame-15/001.jpg", "https://www.handmadepiece.com/media/images/hk/floater-frames-6/001.jpg", "https://www.handmadepiece.com/media/images/hk/floater-frames-5/001.jpg", "https://www.handmadepiece.com/media/images/hk/floater-frames-7/001.jpg", "https://www.handmadepiece.com/media/images/hk/wood-floating-frame-ld0319/001.jpg", "https://www.handmadepiece.com/media/images/hk/wood-floating-frame-ld0304/001.jpg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/media/amasty/webp/catalog/product/cache/a05b5cb6232e66db94063a0d35d5c493/1/6/16865_ww800_hh587_jpg.webp", "https://smhttp-ssl-48028.nexcesscdn.net/pub/media/amasty/webp/catalog/product/cache/1f2a2a98ac6092a1bf82b48353e0b642/1/6/16865_ww800_hh587_jpg.webp", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/1-artist-level-painting-materials_jpg.webp", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/2-hand-painted-online-preview_jpg.webp", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/3-buy-artwork-without-frame_jpg.webp", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/4-order-artwork-with-frame_jpg.webp", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/video_png.webp", "https://www.handmadepiece.com/pub/media/amasty/webp/reason/art-samples_png.webp", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg", "https://smhttp-ssl-48028.nexcesscdn.net/pub/static/version1723187682/frontend/Olegnax/athlete2/en_US/Olegnax_Core/images/preloader-img.svg" ]	[]	[]	[ "Autumn in the Catskills" ]	null	[]	null	Transform your space with a stunning museum-quality oil painting reproduction of Autumn in the Catskills.	en	https://smhttp-ssl-48028…ound-favicon.png		https://www.handmadepiece.com/autumn-in-the-catskills-handmade-oil-painting-reproduction-on-canvas-by-artist-thomas-cole.html	Autumn in the Catskills is a famous oil painting, originally by English artist Thomas Cole in 1827, with the style of romanticism. The painting now is collected by Arnot Art Museum. This kind of landscape oil paintings is very common in visual art. Besides, recommend you to view other painting artworks from Thomas Cole. Dream to have a better art reproduction of this 19 Century painting for home decoration or gift giving? Please send your inquiry to us if interested. Each painting reproduction of Autumn in the Catskills will be done by experienced and talented artist, totally hand painted with eco-friendly oil paints on canvas.
6840	dbpedia	3	34	https://www.hudsonriverskywalk.org/thomascolehistoricsite	en	Thomas Cole Historic Site — Hudson River Skywalk	https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1556050277476-P19ZWN8RD4SEI5YRLHJT/favicon.ico?format=100w	https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1556050277476-P19ZWN8RD4SEI5YRLHJT/favicon.ico?format=100w	[ "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553106159500-XY3AH5EKG8OTVL2WC3AM/Thomas_Cole_20180514_486.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110161464-1NIS3R03IGGS6KH3D6MS/Thomas_Cole_20180514_1189.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110161464-1NIS3R03IGGS6KH3D6MS/Thomas_Cole_20180514_1189.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553695340161-9HW6TSIBJ75WQRK4BU2Q/main-image.jpeg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553695340161-9HW6TSIBJ75WQRK4BU2Q/main-image.jpeg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110155566-RWRYUJZGWDVE8N3FKDJT/Thomas_Cole_20180514_223.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110155566-RWRYUJZGWDVE8N3FKDJT/Thomas_Cole_20180514_223.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1554819609618-VQXZ53KUYLZST9EIDUJB/main-image.jpeg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1554819609618-VQXZ53KUYLZST9EIDUJB/main-image.jpeg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110303207-QJTOUYIHOZ3SRNDUV24J/Thomas_Cole_20180514_746.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110303207-QJTOUYIHOZ3SRNDUV24J/Thomas_Cole_20180514_746.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110158635-GEUAHEXCP6RZY2W32OO8/Thomas_Cole_20180514_856.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1553110158635-GEUAHEXCP6RZY2W32OO8/Thomas_Cole_20180514_856.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1621869358300-GKQBZUGFO2VB34C6ZZLP/Hudson_river_skywalk_logos_Page_02.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1556562741784-WRNTUSYFJFUMOMDA0QLN/Skywalk_logos.jpg", "https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1556564348371-3XNAHEXW2EYIZBGHNPIQ/ILNYlogo_hor_web.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/5c90fe985239581731e8ea35/1556050277476-P19ZWN8RD4SEI5YRLHJT/favicon.ico?format=100w	Hudson River Skywalk	https://www.hudsonriverskywalk.org/thomascolehistoricsite	Thomas Cole Historic Site The Thomas Cole National Historic Site in Catskill, NY, marks the birthplace of the first major art movement of the United States, now known as the Hudson River School, as it was founded by the artist and early environmentalist Thomas Cole (1801-1848). The international destination includes the artist’s historic home and studio buildings, and features world-class art exhibitions, a robust collection of original paintings and objects, beautifully restored historic interiors, and cutting-edge immersive digital storytelling installations that bring to life Thomas Cole’s art and passionate concern for the environment. The gardens, grounds and wrap-around porch offer panoramic views of the Catskill Mountains. The site today is a National Historic Landmark and an affiliated area of the National Park System. Thomas Cole National Historic Site
6840	dbpedia	0	61	https://www.topofart.com/artists/Frederic-Church/	en	Frederic Edwin Church Painting Reproductions	https://cdn.topofart.com…deric-Church.jpg	https://cdn.topofart.com…deric-Church.jpg	[ "https://cdn.topofart.com/ln/de/flag.png", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/church.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church001.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church002.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church003.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church004.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church005.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church006.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church007.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church008.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church009.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church010.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church011.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church012.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church013.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church014.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church015.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church016.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church017.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church018.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church019.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church020.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church021.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church022.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church023.jpg", "https://cdn.topofart.com/images/artists/Frederic_Edwin_Church/paintings-lg/church024.jpg", "https://cdn.topofart.com/img/cards-alt.png" ]	[]	[]	[ "" ]	null	[]	null	Painting Reproductions of Frederic Edwin Church 59 Famous Paintings \| Museum-quality by TOPofART \| 24 Paintings on Page 1 of 3	en	https://cdn.topofart.com/favicon.ico		https://www.topofart.com/artists/Frederic-Church/
6840	dbpedia	3	63	https://www.oceansbridge.com/shop/artists/d/dur-dyn/durand-asher-b/hudson-river-looking-toward-the-catskills	en	Hudson River Looking Toward the Catskills Painting	https://cdn2.oceansbridg…oil-painting.jpg	https://cdn2.oceansbridg…oil-painting.jpg	[ "https://cdn2.oceansbridge.com/2018/12/18194434/logo-ob2.png", "https://cdn2.oceansbridge.com/2018/12/18194434/logo-ob2.png", "https://cdn2.oceansbridge.com/2018/03/25051839/guarantee.png", "https://cdn2.oceansbridge.com/2018/03/25050736/support.png", "https://cdn2.oceansbridge.com/2019/12/02054648/portrait-prices.png", "https://cdn2.oceansbridge.com/2017/08/07103920/oversized-1.png", "https://cdn2.oceansbridge.com/2018/05/28222147/request-a-painting.png", "https://cdn2.oceansbridge.com/2019/12/02054648/portrait-prices.png", "https://cdn2.oceansbridge.com/2017/08/07103920/oversized-1.png", "https://cdn2.oceansbridge.com/2018/05/28222147/request-a-painting.png", "https://cdn2.oceansbridge.com/2017/09/05055958/Hudson-River-Looking-Toward-the-Catskills-Asher-B-Durand-oil-painting-800x594.jpg", "https://cdn2.oceansbridge.com/2018/02/21054107/satisfaction_guaranteed-100by100.jpg", "https://cdn2.oceansbridge.com/2017/07/28033954/In-the-Woods-1855-Asher-B-Durand-Oil-Painting.jpg", "https://cdn2.oceansbridge.com/2017/08/05233811/Landscape-with-Figures-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/08/05233907/Nature-Study-Trees-Newburth-N.Y.-1849-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/08/05233227/Hudson-River-Scene-1846-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/08/05234916/Woodland-Scene-1850-Asher-B-Durand-oil-painting-3.jpg", "https://cdn2.oceansbridge.com/2017/07/28034402/Mrs-Winfield-Scott-1831-Asher-B-Durand-Oil-Painting.jpg", "https://cdn2.oceansbridge.com/2018/03/25051839/guarantee.png", "https://cdn2.oceansbridge.com/2018/03/25050736/support.png" ]	[]	[]	[ "" ]	null	[ "S.R.D", "Arnold B. Levine" ]	2023-11-27T08:12:00+00:00	The Hudson River Looking Toward the Catskills painting originally painted by Asher B Durand can be yours today. All reproductions are hand painted by talented artists. Free Shipping.	en	https://cdn2.oceansbridg…lette1-32x32.png	Ocean's Bridge Oil Paintings	https://www.oceansbridge.com/shop/artists/d/dur-dyn/durand-asher-b/hudson-river-looking-toward-the-catskills	FREE SHIPPING - WORLDWIDE! Yes that is correct the price you see is the price you pay. There are no hidden fees. Shipping, insurance and all other costs are included and you will not be asked to pay any further fees. (Please note there may be some extra fees if major revisions are required to your painting which DIFFER from your initial instructions and/or photos sent to us*** but these cases are the exception.) When packages are delivered damaged we'll need you to inform the courier (UPS) at your end, so they can process the complaint and take photos of the damage and send the photos to us. But, as far as your painting is concerned, if it was damaged beyond repair or lost in transit (both rare occurrences, thankfully), we will immediately dispatch a replacement (or paint a new one for you if it was not one we had in stock). Lifetime Warranty Ocean's Bridge provides a full warranty covering manufacturing and material defects for paintings and prints purchased from our website. The warranty covers damage for normal use. Damage caused by incidents such as accidents or inappropriate use are not covered. Depending on the degree of damage to the warranted painting, it will either be repaired or replaced. This warranty service is provided free of charge.
6840	dbpedia	3	0	https://art.thewalters.org/detail/19883/the-catskills/	en	The Walters Art Museum	https://art.thewalters.o…2_Fnt_DD_T09.jpg	https://art.thewalters.o…2_Fnt_DD_T09.jpg	[ "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	0	20	https://www.markmurray.com/alfred-thompson-bricher-paintings-for-sale	en	ALFRED THOMPSON BRICHER PAINTINGS FOR SALE	http://static1.squarespace.com/static/55c8cee9e4b09cb562ce184f/t/5793ced9414fb5c7c3691cc3/1469304537730/Mark-Murray-Favicon.png?format=1500w	http://static1.squarespace.com/static/55c8cee9e4b09cb562ce184f/t/5793ced9414fb5c7c3691cc3/1469304537730/Mark-Murray-Favicon.png?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/6eb5bca8-5948-458f-8821-55f203250451/Mark-Murray-Fine-Paintings-Logo-2023-5.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/6eb5bca8-5948-458f-8821-55f203250451/Mark-Murray-Fine-Paintings-Logo-2023-5.png?format=1500w", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1476306688526-N2QUV11QZQY6YQ7XCHSF/Alfred+Thompson+Bricher", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1509933942188-4UW5JEYR9KNJVRP385AF/Alfred-Thompson-Bricher-Seascape.jpg", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1553005887140-1SX7FGRNXCWGWJVQQQ1R/Mark+Murray+Instagram", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1553005856032-LDO9D64C7IE8W2USE1X1/Mark+Murray+Facebook", "https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1553005843785-BTWZ02YR3G0YMJA3YX8D/Mark+Murray+LinkedIn" ]	[]	[]	[ "" ]	null	[]	null	See available Alfred Thompson Bricher paintings for sale at Mark Murray Gallery.  We specialize in buying & selling 19th Century & Impressionist art.	en	https://images.squarespace-cdn.com/content/v1/55c8cee9e4b09cb562ce184f/1469304394547-R6733WHQ22RWABZ6PIG5/favicon.ico?format=100w	Mark Murray Fine Paintings	https://www.markmurray.com/alfred-thompson-bricher-paintings-for-sale	BIOGRAPHY “The rugged cliffs on Grand Manan Island, New Brunswick, with the dramatic tides of the Bay of Fundy and the quiet coastal inlets at low tide were favorite subjects of Alfred Thompson Bricher. His works appeared in the major exhibitions of the late nineteenth century and were known through illustrations for Harper’s New Monthly Magazine and the popular chromolithographs of Louis Prang (1823–1909). “Throughout his career, Bricher remained a conservative painter. He was particularly influenced by such artists as John F. Kensett (1818–1872), a Hudson River School painter who inspired his interest in capturing effects of light and atmosphere. The looser handling of paint in his later work shows the influence of the Barbizon painters. “Bricher was born in Portsmouth, New Hampshire, in 1837 and spent his childhood in Newburyport, Massachusetts, where he attended school. Later, he worked as a clerk in a Boston drygoods store and painted in his spare time. He may have studied art at the Lowell Institute in Boston during the mid-fifties; although an 1875 article in the Art Journal states that during his early years in Boston, Bricher had little contact with other artists and was “entirely self-taught” (p. 340). The same article says that William Stanley Haseltine (1835–1900) and Charles Temple Dix (1840–1873), whom Bricher met in 1858 while sketching on Mount Desert Island, Maine, had a decisive influence on his style. Haseltine’s paintings of sunstruck, fissured rocks on the New England coast, may have prompted Bricher to turn from landscape to marine paintings in which large rocks dominate the foreground. He probably also knew the marine and still-life painter Martin Johnson Heade (1819–1904), who worked in Newburyport during the early 1860s. In addition to painting on the New England coast, Bricher went on sketching trips to the White Mountains and the Catskills and in 1866 to the upper Mississippi River and Minnesota. “Bricher moved to New York in 1868. During the 1870s, he occupied a studio in the YMCA Building. He was a member of the American Society of Painters in Water Colors and an associate of the National Academy of Design. In 1882, while maintaining a studio in New York, he built a summer home in Southampton, Long Island, to be closer to the sea. From 1890 until his death in 1908, he lived in New Dorp, Staten Island.” (Burke, Doreen Bolger, American Paintings in the Metropolitan Museum of Art, Vol. III, A Catalogue of Works by Art and Artists Born between 1846 and 1864, 1980). Museum Collections: Art Institute of Chicago, Chicago, IL Brauer Museum of Art, Valparaiso, IN Canton Museum of Art, Canton, OH Carnegie Museum of Art, Pittsburgh, PA Currier Gallery of Art, Manchester, NH Dallas Museum of Art, Dallas, TX Denver Art Museum, Denver, CO Farnsworth Art Museum, Rockland, ME Fine Arts Museums of San Francisco, San Francisco, CA High Museum of Art, Atlanta, GA Huntington Library, San Marino, CA Indiana University Art Museum, Bloomington, IN Indianapolis Museum of Art, Indianapolis, IN Long Island Museum of American Art, History, and Carriages, Stony Brook, NY Los Angeles County Museum of Art, Los Angeles, CA Metropolitan Museum of Art, New York, NY Museo Thyssen-Bornemisza, Madrid Museum of Fine Arts, Boston, MA National Gallery of Art, Washington, D.C. Orlando Museum of Art, Orlando, FL Princeton University Art Museum, Princeton, NJ Samuel Dorsky Museum of Art, New Paltz, NY Smithsonian American Art Museum, Washington, D.C. Springfield Museum of Art, Springfield, OH Terra Foundation for American Art, Chicago, IL Walters Art Museum, Baltimore, MD Westmoreland Museum of American Art, Greensburg, PA The White House, Washington, D.C. Wichita Art Museum, Wichita, KS Mark Murray Fine Paintings is a New York gallery specializing in buying and selling 19th century and early 20th century artwork.
6840	dbpedia	2	39	https://www.dailyfreeman.com/2024/07/19/whats-happening-in-the-mid-hudson-valley-july-19-2024/	en	What’s happening in the Mid-Hudson Valley: July 19, 2024	https://www.dailyfreeman…jpg?w=1024&h=637	https://www.dailyfreeman…jpg?w=1024&h=637	[ "https://www.dailyfreeman.com/wp-content/uploads/2021/07/DailyFreeman-logo.png", "https://www.dailyfreeman.com/wp-content/uploads/2024/07/DFN-L-ceramic-fish-01.jpg?w=562", "https://secure.gravatar.com/avatar/?s=85&d=mm&r=g", "https://www.dailyfreeman.com/wp-content/uploads/2024/08/FOOD-PANROASTED-SALMON-DMT.jpg?w=381", "https://www.dailyfreeman.com/wp-content/uploads/2024/08/FOOD-CHICKEN-TOMATO-SALAD-1-PG.jpg?w=525", "https://www.dailyfreeman.com/wp-content/uploads/migration/2018/08/4f1ed773192fffb020aba845d27be10a.jpg?w=535", "https://www.dailyfreeman.com/wp-content/uploads/2024/08/Euclides-artwork.png?w=233", "https://www.dailyfreeman.com/wp-content/uploads/2021/07/DailyFreeman-logo.png" ]	[]	[]	[ "" ]	null	[ "Daily Freeman" ]	2024-07-19T00:00:00	• The Rotary Club of Kingston will present free Sunday afternoon concerts during July at 2 p.m. in the Gazebo at Rotary Park, 47 Delaware Ave., Kingston. There will be ample free parking. Attendees should bring their own chairs. The dates and themes are as follows: July 21, The Sinatra Years; July 28, The Band […]	en	https://www.dailyfreeman…iteicon.png?w=16	Daily Freeman	https://www.dailyfreeman.com/2024/07/19/whats-happening-in-the-mid-hudson-valley-july-19-2024/	• The Rotary Club of Kingston will present free Sunday afternoon concerts during July at 2 p.m. in the Gazebo at Rotary Park, 47 Delaware Ave., Kingston. There will be ample free parking. Attendees should bring their own chairs. The dates and themes are as follows: July 21, The Sinatra Years; July 28, The Band Showcase. • The HoloCenter at 518 Broadway, Kingston is hosting introductory hologram workshops on Sundays this summer, from 10 a.m. to 3 p.m. The HoloCenter’s introductory hologram workshop offers students a chance to learn how holograms are made, to create a “composition” used to make a hologram and “shoot a hologram of that composition,” a news release said. Using tiny diode lasers participants will record their hologram on self-developing photopolymer material, the release said. Workshop dates are July 21 and 28. Tuition is $120 including materials. To register for a workshop email HoloCenter Executive Director Linda Law at lindalaw@holocenter.org or call (845) 532-3035. • The dance event “Freestyle Frolic” takes place the fourth Saturday of each month from 8 to 11 p.m. at The Muse, 1 Madeline Lane, Rosendale. The substance-free community dance event costs $15 at the door, or a 30-minute volunteer shift, and no one will be turned away for a lack of funds. For more information, visit freestylefrolic.org. • Upstate Art Weekend, spanning 10 counties in the Hudson Valley and Catskill Mountains, takes place through Sunday, July 21. The event will feature more than 145 participants, comprised of local arts organizations, galleries, museums, residencies and creative projects, mixed with temporary exhibitions and events. Entities in Ulster, Dutchess, Columbia and Greene counties will be among the participants. Visit upstateartweekend.org for more information. • A pop-up concert to benefit Family of Woodstock will take place Friday, July 19, from 7:30 to 10:30 p.m. at Maverick Concert Hall, 120 Maverick Road, Woodstock. The event will feature Scott Sharrard of Little Feat, an acoustic set with Brian Mitchell on piano and special guests. Tickets are $35 general admission (inside the hall) and $25 general admission (outside the hall and uncovered). Visit maverickconcerts.org for tickets or more information. • The Hudson Valley premiere of “The People’s Joker” will take place Friday, July 19, at 7 p.m. at Rosendale Theatre, 408 Main St., Rosendale. Doors open at 6:30 p.m. The film follows an unconfident, closeted trans girl as she moves to Gotham City to make it big as a comedian by joining the cast of UCB Live – a government-sanctioned late-night sketch show in a world where comedy has been outlawed. “The People’s Joker” features cameos by Tim Heidecker, Bob Oldenkirk, Maria Bamford and Scott Aukerman. Tickets are $10 for general admission, $6 for Rosendale Theatre members. Anyone who comes dressed in costume as their favorite DC character (or knockoff) will receive one free order of popcorn. Tickets are available at: https://tix.rosendaletheatre.org/thepeoplesjoker. • The Plattekill Historical Society will host a presentation about Prohibition-era Dutch Schultz by private investigator Bruce Alterman on Saturday, July 20, at the Plattekill Grange Hall, 127 Church, Plattekill. He has written several novels, including “Fear In Phoenicia, The Deadly Hunt For Dutch Schultz’s Treasure,” about a daring expedition for Schultz’s rumored treasure. The program is free and open to the public. For more information, visit plattekillhistoricalsociety.org, society’s Facebook page or call (845) 389-7998. • A conversation on the book, “My Mama, Cass: A Memoir,” featuring author Owen Elliot-Kugell, will take place, July 20, at 4 p.m. at Mountain View Studio, 20 Mountainview Ave., Woodstock. The book details Elliot-Kugell’s upbringing as the daughter of Cass Elliot of the famed band, The Mamas and the Papas. The event is open to all. For more information, visit https://bit.ly/4eZlAPQ. • A vintage motorcycle ride will take place Sunday, July 21. Participants will meet at 11 a.m. at the Cumberland Farms gas station, 63 Mill Hill Road, Woodstock, and depart at noon to ride the Catskills. There is no charge and all are welcome. • A Voice Theatre production of the Oscar Wilde comedy, “The Importance of Being Earnest,” will take place through Sunday, July 28, in Bethany Hall at the Old Dutch Church, 272 Wall St., Kingston. Shows will begin at 7:30 p.m. Thursday to Saturday, with matinees at 2 p.m. on Sundays as well as Saturday, July 27. Tickets are $28 for Thursday evenings or $30 for matinees and Friday and Saturday evenings. Tickets are $22 for all shows for seniors and students. To purchase tickets, call (845) 679-0154 or visit voicetheatre.org/earnesttickets. • The General Richard Montgomery House Museum-Chancellor Livingston DAR Chapter House will be open every Saturday in July, as well as Thursday, Aug. 1, Tuesday, Aug. 13, and Saturday, Aug. 17, from 2 p.m. to 4 p.m. The house, located at 77 Livingston St., Rhinebeck, is the oldest clapboard house in the village, where Gen. Richard Montgomery and his wife, Janet Livingston Montgomery, resided in 1773. Admission is free, although donations are welcomed. The house is also open by appointment. For more information, call (845) 871-1777. • D&H Canal Historical Society historian Bill Merchant is featured on the Hudson River Maritime Museum’s solar-powered boat, Solaris, on the first Sundays of the month through October. Merchant will guide attendees through the remains of Rondout history along the waterfront, as the boat sails from the Hudson River Maritime Museum to Eddyville Dam and back. Trips start at 4 p.m. at the museum, 50 Rondout Landing, Kingston. To reserve a seat on the boat, visit hrmm.org/cruise-schedule.html. • Tilda’s Outdoor Market, a collaboration between Tilda’s Kitchen and the Esopus Community Foundation, will be open Saturday, Aug. 10, from 10 a.m. to 3 p.m. at Mid-Hudson Valley Federal Credit Union, 185 Broadway, Port Ewen. Vendors at the outdoor market will include Reilly’s Cabbage Patch, Deadhead Farms, Whitecliff Vineyard, Royal BBQ and Gabriel’s Scrubs, with products ranging from bread, eggs, local produce to pottery, elixirs, coffee, wines and more. For more information, visit facebook.com/esopuscommunityinc. • The Bloomington Fire Department, 14 Taylor St., Bloomington, will have a Food Truck Fiesta on Tuesday, Aug. 20, from 5 to 9 p.m. The rain date is the following week. There will also be a Food Truck Fiesta on Tuesday, Sept. 17. • Up in One Productions will present the musical comedy “Guys and Dolls” from Friday, July 19, through Sunday, Aug. 11, at The CENTER for Performing Arts, 661 state Route 308, Rhinebeck. Performances are Fridays and Saturdays at 8 p.m. and Sundays at 3 p.m. Tickets are $29. Visit centerforperformingarts.org or call (845) 876-3080 for more information. • The Reformed Church of the Comforter, 26 Wynkoop Place, Kingston, will host a make-your-own sundae event on Saturday, July 20, from 11 a.m. to 3 p.m. There will be hot dogs, a bake sale crafts, and free items from the thrift store. Call (845) 339-4471 for more information. • A computer fixer event will be held on Saturday, July 20, from 10 a.m. to 1 p.m. at Phoenicia Library, 48 Main St., Phoenicia. Joris Sankai Lemmens will be on-site to help fix computers and devices. The event is first-come, first-serve, with no appointment necessary. For more information, call (845) 688-7811 or visit phoenicialibrary.org. • A CPR class, “Hands Only CPR,” will be held on Saturday, July 20 at 1 p.m. at Phoenicia Library, 48 Main St., Phoenicia. The free 30-minute class is sponsored by the American Red Cross. Registration is required, and the class is for ages 12 and up. To register, call (845) 688-7811 or send an email to fstaff@phoenicialibrary.org. • The Shakespeare play “Twelfth Night” will be performed by the Bird-on-a-Cliff Theatre Company, opening Friday, July 26, at the Comeau Property, 45 Comeau Drive, Woodstock. The play will run on Fridays, Saturdays, and Sundays at 5:30 p.m. through Labor Day weekend. Admission is free, although there is a suggested donation of $10. For more information, visit birdonacliff.org. • A celebration of the 75th anniversary of the East Kingston Volunteer Fire Company will take place Saturday, July 27, at 12 p.m. at Robert Post Park, 515 Park Road, town of Ulster. The free event will feature live music and activities as well as food and beverages. A tentative rain date is set for Sunday, July 28. For more information, visit facebook.com/EKVFDevents. • Coach House Players, 12 Augusta St., Kingston, will offer a summer acting class for students in grades 8 through 12 from Monday, July 29, through Friday, Aug. 9, from 10 a.m. to noon. The cost is $80. A registration form and more information can be found at www.coachhouseplayers.org. Click on the Backstage heading. • A production of “The Wizard of Oz” will be performed at Phoenicia Playhouse, 10 Church St., Phoenicia, through Sunday, July 28. The play directed by Ovi Vargas, features Lilian Gracia as Dorothy, Andrew Cort as the Wizard of Oz, Alicia Upchurch as the Wicked Witch of the West, and Brooke Harrison as the Good Witch; among other characters. Evening performances are Thursdays, Fridays and Saturdays, with doors opening at 6:30 p.m. and the show starting at 7 p.m. Matinees are Sundays with doors opening at 1:30 p.m. and the show starting at 2 p.m. Tickets are $20 for general admission and $10 for seniors, students, and veterans, For more information or to purchase tickets, visit phoeniciaplayhouse.com. • An exhibition titled “SUB-MERGED,” featuring underwater photography by Barbara Leon, will be shown through Sunday, Aug. 11, at The Muse, 1 Madeline Lane, Rosendale. The gallery is open from 2 to 4 p.m. on Saturdays and Sundays, as well as by appointment. For more information, visit themuserosendale.org. • “Larry & Teresa’s July Jam,” featuring Larry Campbell and Teresa Williams, will take place Saturday, July 20, at Arrowood Farms, 236 Lower Whitfield Road, Accord. The festival will also feature artists including Hot Tuna, Jackie Greene, The Secret Sisters, and Connor Kennedy & Onestar. Gates open at 1 p.m., with the show running from 2 p.m. to 9:30 p.m. Tickets are $90 for general admission and $175 for VIP. Parking passes are available for $10 in advance or $15 on the day. For more information or to purchase tickets, visit https://tinyurl.com/mfp2kmhp. • The 35th Tivoli Wide Yard Sale will take place Saturday, July 27, beginning at 9 a.m. throughout Tivoli. The event will be held rain or shine, and a map of all yard sale locations will be distributed at the Four Corners. For more information, call the Village Office at (845) 757-2021. • The Borscht Belt Fest will return to downtown Ellenville this summer on Saturday, July 27, and Sunday, July 28. The planned street fair, live musical performances, movie screenings and exhibits are free, but comedy shows and talks require the purchase of tickets. For more information and updates on ticket sales, visit borschtbeltfest.org. • A free concert and talk, titled “Music of the Mountains: Camp Woodland, 1939 to 1962,” will be take place, Saturday, July 27, at 7 p.m. at Unitarian Universalist Congregation of the Catskills, 320 Sawkill Road, town of Ulster. The event, organized by the Ulster County Historian & the Hudson Valley Folk Guild, focuses on Camp Woodland in Phoenicia. The concert will feature live performances of traditional folk music by local singers Pat Lamana and Rich Bala, as well as a lecture by Bill Horn. The event is free to attend. For more information, call (845) 332-0258 or send an email to gmil@co.ulster.ny.us. • A Harmony Workshop, led by Phyllis Elkind, will take place Saturday, July 27, from 1 to 3 p.m. at The Muse, 1 Madeline Lane, Rosendale. Attendees at the workshop will learn about the melody and harmony parts of bluegrass and country songs, as well as tips on singing these music styles. Admission is $15, and the workshop is open to all singing levels. For more information, visit themuserosendale.org. • The 1968 film “Once Upon a Time in the West,” starring Charles Bronson and Henry Fonda, will be shown Thursday, Aug. 1, at 7 p.m. and Saturday, Aug. 3, at 4 p.m. at Rosendale Theatre, 408 Main St., Rosendale. The film, directed by Sergio Leone, will be shown as a part of the theater’s “Spaghetti Western Series.” Tickets are $10 for general admission and $6 for members. For more information, visit rosendaletheatre.org, call (845) 658-8989 or send an email to info@rosendaletheatre.org. • A free historic walking tour of Wiltwyck Cemetery, 205 W. O’Reilly St., will take place Saturday, Aug., from 1 to 2 p.m. The rain date will be Sunday, Aug. 4, from 1 to 2 p.m. The tour will begin at the mausoleum and cover the history of cemeteries, Wiltwyck Cemetery’s founding, and highlight several historic figures buried within its grounds. The tour will last approximately one hour. At the tour’s conclusion, refreshments will be served outside of the community mausoleum. Those wishing to attend are asked to RSVP at (845) 331-0199. Admission is free, but donations to the cemetery’s tree-planting program will be appreciated. • The Tivoli Artists Gallery, 60, Broadway, Tivoli, will host a printmaking exhibit from Saturday, Aug. 10, through Sunday, Sept. 1. The show will feature gallery artists’ works in various printmaking styles ranging from monoprints, etching, woodblock, textural pulp and lithography. An opening reception will take place Saturday, Aug. 10, from 5 to 7 p.m. There will also be a clothesline show on Saturday, Aug. 24, from 5 to 7 p.m. In addition, a printmaking workshop will be offered Aug. 24 from 1 to 2 p.m. Gallery hours are Thursday by appointment, Fridays from 5 to 8:30 p.m., Saturdays from noon to 8 p.m. and Sundays from noon to 4 p.m. Call (845) 757-2667 for more information. (Image Provided) • Comedian Nate Jackson will perform Friday, Sept. 13, at 7:30 p.m. at the Bardavon, 35 Market St., Poughkeepsie, N.Y. Tickets are $45.50, $55.50, $81.50 (Roast Zone) and $256 (Guaranteed Roast Zone, first row in the center orchestra. Tickets are available at the Bardavon box office and at the Ulster Performing Arts Center box office, 601 Broadway, Kingston, N.Y. Tickets are available online at ticketmaster.com (fees will apply). Call the Bardavon at (845) 473-5288 or UPAC at (845) 339-6088 or send an email to boxoffice@bardavon.org for more information. (Photo Provided) • The 2024 Woodsist Festival, presented by Woodsist Records, Impact Concerts, and Ground Control Touring, will be held Saturday, Sept. 21, to Sunday, Sept. 22 at Arrowood Farms, 236 Lower Whitfield Road, Accord. The festival will feature artists including Yo La Tengo, Real Estate, Jessica Pratt, Hailu Mergia, and Woods. Tickets for both days are $195 for general admission or $350 for VIP, with parking passes available for $10 a day. For more information or to purchase tickets, visit https://tinyurl.com/4n92pjy3. • “Best Day Ever!,” featuring comedian Preacher Lawson, will take place Saturday, Nov. 2, at 8 p.m. at the Bardavon, 35 Market Street, Poughkeepsie. Lawson is known for his performances on “America’s Got Talent” and HBO’s “A Black Lady Sketch Show,” and has amassed a following of 3.4 million on TikTok and over 640 thousand on YouTube. Tickets are on sale. For more information or to purchase tickets, visit www.bardavon.org. • Comedian Mark Normand will perform in Poughkeepsie as part of his “Ya Don’t Say Tour” on Friday, Nov. 15, at 7 p.m. at The Bardavon, 35 Market St. Tickets are $35, $49.75, and $59,75, with VIP options also available. To purchase tickets, visit the Bardavon or UPAC box offices from Tuesday to Friday 11 a.m. to 5 p.m. Tickets can also be purchased online (with additional fees) at ticketmaster.com. For more information, call (845) 473-5288 or send an email to boxoffice@bardavon.org. • Knit ‘n Knatter has restarted at Morton Memorial Library, 82 Kelly St., Rhinecliff. The group meets on the first and third Wednesdays of the month from 3 to 5 p.m. in the library’s reading room. Come to knit, crochet or just for the confab. Participants will drop purls, collaborate on projects or work on their own. Call (845) 876-2903 or visit morton.rhinecliff.lib.ny.us for more information. • Hurley Library, 48 Main St., Hurley, offers drop-in tech help on Mondays and Thursdays from 3 to 5 p.m. • ESL Tutoring at the Phoenicia Library, 48 Main St., Phoenicia runs every Thursday from 6 p.m. to 7 p.m., with librarian Susan teaching English to those who wish to learn. All levels of English-speaking proficiency are welcome, and the tutoring lessons are free. For more information, call (845) 688-7811 or send an email to phoenicialibrary@gmail.com. • Gardiner Library, 133 Farmer’s Turnpike, Gardiner, presents Bard Math Circle with Mason Eyler on Sundays from 10:30 a.m. to 12:30 p.m. The program is free to all middle school students interested in mathematical problem solving, especially for those preparing to take the AMC 8 or MathCounts. It is led by New Paltz High School student and Upstate New York Math Team member Mason Eyler. Students will develop their mathematical problem-solving skills in the context of mathematical topics not frequently encountered in school, like combinatorics, number theory, algebra, logic and geometry. Attendees should bring pencils and paper. For more information, call (845) 255-1255 or visit www.gardinerlibrary.org. • People’s Place Wellness Empowerment Center’s monthly Evening Of Holistic Health collaboration with the Holistic Health Community continues the first Wednesday evening of each month from 3 to 7 p.m. at 775 Broadway, Kingston. Visit https://peoplesplacewec.simplybook.me/v2 for more information. • People’s Place Wellness Empowerment Center offers free weekly workshops, featuring wellness classes, health screenings, nutritional guidance, alternative health modalities, and financial education. 775 Broadway, Kingston. For more information and to register for workshops, visit www.peoplesplace.org/wellness-empowerment-center/ or call (845) 338-4030. • People’s Place Food Pantry is open Monday through Friday from 10 a.m. to 1 p.m. and on Wednesday evenings from 5 to 7 p.m. at 17 St. James St., Kingston. Donations of fresh and shelf-stable foods are being accepted. Call (845) 338-4030. • People’s Place Bounty Table, located just outside the doors, offers free produce, bread, baked goods, dairy items and proteins. The items change daily and are first-come, first-serve during business hours from 10 a.m. to 1 p.m. Call (845) 338-4030 for additional information.
6840	dbpedia	0	98	http://www.artnet.com/magazineus/reviews/reviews.asp	en	Art Reviews Exhibition Reviews on artnet			[ "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/magazine/rss.jpg", "http://ad.doubleclick.net/ad/art.net.com/magazine/reviews;tile=2;sz=200x600;ord=", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/magazine/reviews/mason/design-at-nada-5-7-12-1s.jpg", "http://ad.doubleclick.net/ad/art.net.com/magazine/reviews;tile=3;sz=370x300;ord=", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images_US/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/images/white.gif", "http://www.artnet.com/media/redesign/img/logo_brand.svg?v=2" ]	[]	[]	[ "art reviews", "exhibition reviews", "art exhibitions" ]	null	[]	null	Browse our exclusive art reviews which featured the latest news, exhibitions, events, art galleries and auctions.				null	Artnet Design DESIGN AT NADA NEW YORK by Brook S. Mason May 7, 2012 The inaugural edition of NADA New York, May 4-7, 2012, may seem a peculiar setting for design. But wedged in among the 66 dealers from 11 countries set up in the former Dia Center for the Arts Building in Chelsea, also the home of the Independent art fair two month ago, is a surprising amount of design- and function-focused material. ...more
6840	dbpedia	3	59	http://arthistorynewsreport.blogspot.com/2019/02/thomas-coles-refrain-paintings-of.html	en	Art History News: Thomas Cole’s Refrain: The Paintings of Catskill Creek	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vD6lQK430Y5oqe3-Z7iYnmDzyC3Htfg-jkOiaJHHoCjgGhxwM2M2eZGU26G8J0AejfH-oUvjEh096SbMLLhpgbzcSGqz7UityuCAVPiN7M7R6M47IUqUuq-jHVYPOPGA5VQb5Rj91fSpDDiEXYxuXYEt4j7zVQGIG_epMiprxh5APSRzedGF06JrXLbcodgKXjx9P2OF37yBT3vhAyKKbjAbix7TGfutx6r3NGWBSFaC21=w1200-h630-p-k-no-nu	https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_vD6lQK430Y5oqe3-Z7iYnmDzyC3Htfg-jkOiaJHHoCjgGhxwM2M2eZGU26G8J0AejfH-oUvjEh096SbMLLhpgbzcSGqz7UityuCAVPiN7M7R6M47IUqUuq-jHVYPOPGA5VQb5Rj91fSpDDiEXYxuXYEt4j7zVQGIG_epMiprxh5APSRzedGF06JrXLbcodgKXjx9P2OF37yBT3vhAyKKbjAbix7TGfutx6r3NGWBSFaC21=w1200-h630-p-k-no-nu	[ "https://thomascole.org/wp-content/uploads/image2-1828-29-View-Near-Catskills_-private-collection-Oil-on-wood-panel-–-24-½-X-35-1024x728.jpg", "http://b03.deliver.odai.yale.edu/a9/0b/a90b424a-ad8e-4a5b-8495-46ed3f8415c7/ag-obj-25491-001-pub-large.jpg", "https://thomascole.org/wp-content/uploads/STUDY_On-Catskill-Creek_1845-47-1024x581.jpeg", "https://thomascole.org/wp-content/uploads/Cole-Autumn-Landscape-View-of-Mount-Chocorua_CROP.jpg", "https://www.nyhistory.org/sites/default/files/emuseum_real/S_157_0.jpg", "http://www.cornellpress.cornell.edu/Resources/titles/80140103211220/Images/80140103211220L.jpg", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "http://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgsVgENtOzv_nv1tHkp6pX-diuDihwPWg2MLth9WMgTZD4GIIU0IMjIoB4yg2bmeKtbn8-pBBuloXYqdA_yKXQdVkUR622LwQ0Tig7wUnpGCOpp9WbAsIGbAEgFTjag/s220/JK.jpg" ]	[]	[]	[ "" ]	null	[ "Jonathan Kantrowitz", "View my complete profile" ]	null	Thomas Cole National Historic Site May 4-November 3, 2019 Hudson River Museum in Yonkers, New York November 21, 2019, to February 28,...	en	http://arthistorynewsreport.blogspot.com/favicon.ico		http://arthistorynewsreport.blogspot.com/2019/02/thomas-coles-refrain-paintings-of.html
6840	dbpedia	2	15	https://www.iloveny.com/thebeat/post/hudson-river-museum-announces-june-2024-exhibitions-and-programs/	en	Hudson River Museum Announces June 2024 Exhibitions and Programs	https://assets.simplevie…76d133faf78a.jpg		[ "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_205,q_75,w_300/v1/clients/newyorkstate/Hudson_River_Museum_June_2024_Programs_0c27a712-6baf-4d29-be53-76d133faf78a.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	[]	2024-05-31T20:51:28.424000+00:00	Yonkers, NY (May 30, 2024) — The Hudson River Museum presents two inspired exhibitions opening Friday, June 7 that celebrate new and ongoing relationships with local communities and artists. Neighboring Visions: Westchester Artists Then and Now pairs historical landscape and figurative paintings on loan from the Bronxville Historical Conservancy with contemporary works created by Westchester-based artists. Red Grooms: Drawing "The Bookstore” features never-before-seen preparatory drawings to celebrate the 45th anniversary of this beloved installation, commissioned by the Museum.	en			https://www.iloveny.com/thebeat/post/hudson-river-museum-announces-june-2024-exhibitions-and-programs/	Yonkers, NY (May 30, 2024) — The Hudson River Museum presents two inspired exhibitions opening Friday, June 7 that celebrate new and ongoing relationships with local communities and artists. Neighboring Visions: Westchester Artists Then and Now pairs historical landscape and figurative paintings on loan from the Bronxville Historical Conservancy with contemporary works created by Westchester-based artists. Red Grooms: Drawing "The Bookstore” features never-before-seen preparatory drawings to celebrate the 45th anniversary of this beloved installation, commissioned by the Museum. Celebrate Pride Month at the HRM this month with a variety of programs and events! On Friday, June 7, 5–8pm, join us for Free First Fridays: The Muses and dance the night away with The Muses, a DJ duo helmed by Jack James and Daniel Walters that specializes in Parisian funk, house, disco, and underground pop. Then on Sunday, June 9, 2pm, join us for Out in Yonkers: A Conversation with Elizabeth de Bethune, where HRM Trustee Angelique Piwinski will interview artist Elizabeth de Bethune about her 2023 series of portraits of queer people who live in Yonkers. Plus, every Saturday & Sunday in June, 12–4pm, learn more about LGBTQ+ history in Family Art Workshop: Proud Portraits. Finally, don’t miss a special conversation with Priscila and Alvin Hudgins on Kindred Worlds on Saturday, June 29, 2pm. Collectors Priscila and Alvin Hudgins III, curator Alyssa Alexander, and featured artists Laurena Finéus and Raelis Vasquez. The conversation will cover their collector beginnings, what it means to collect Black art in the current market, their artist residency in Cartagena, Colombia, and more. FEATURED EXHIBITIONS NEW! Neighboring Visions: Westchester Artists Then and Now June 7–September 29, 2024 View press images Neighboring Visions: Westchester Artists Then and Now pairs historical landscape and figurative paintings on loan from the Bronxville Historical Conservancy with contemporary works created by Westchester-based artists. Featured artist include 19th century painters Walter Clark, Ann Brainerd Crane, Bruce Crane, George Will Hicok Low, Milne Ramsey, Charles Louis Hinton, Henry Smillie, and William Thomas Smedley alongside contemporary artists Alvin Clayton, Susan P. Cooper, Francine Hsu Davis, Julianne Farella, Shelley Haven, Alan Haywood, Jamie Kay MacKenzie, Amber Mustafic, Moshgan Rezania, and Susan Richman. Neighboring Visions: Westchester Artists Then and Now is curated by Karintha Lowe, HRM’s Mellon Public Humanities Fellow, with curatorial assistance provided by Sarah Lawrence College student-interns Tatiana Mezitis, Rachel Pearson, Frank Spillane, and Natalie Taylor. The exhibition is supported by the Bronxville Historical Conservancy. Additional support has been provided by Sarah Lawrence College and the Mellon Foundation. Exhibitions are made possible by assistance provided by the County of Westchester. NEW! Red Grooms: Drawing “The Bookstore” June 7–September 29, 2024 View press images In celebration of the 45th anniversary of The Bookstore, the HRM is proud to present a selection of never-before-seen drawings, a generous recent gift of the artist and Lysiane Luong. In 1979, the Hudson River Museum unveiled The Bookstore, a tribute to the allure of books, epitomized through an unexpected yet thrilling mash-up of the stately Pierpont Morgan Library and the eclectic Isaac Mendoza Book Company. While conceiving The Bookstore, Grooms soaked up the ambiance of each location by sketching for hours and reenvisioning the scenes around him. Many of his recorded vignettes found their way into the final artwork, from the monumental fireplace and ornate ceiling decorations of the Morgan to the overflowing bookshelves and pressed-tin ceiling of Mendoza’s. Grooms’ sketchbooks for the project, as well as the maquette used to guide the installation, will also be on view. Exhibitions are made possible by assistance provided by the County of Westchester. Rivers Flow / Artists Connect Through September 1, 2024 View press images Kindred Worlds: The Priscila and Alvin Hudgins Collection Through March 2, 2025 View press images It Takes 2: Unexpected Pairings Through March 2, 2025 View press images A Feast for the Eyes: Sumptuous Still Lifes Through December 1, 2024 View press images Faces and Figures: Recent Acquisitions Ongoing View press images Collection Spotlight: The Hudson River School Ongoing View press images Collection Spotlight: The Art of Skywatching Ongoing View press Images PROGRAMS All events are free with general admission unless otherwise noted. View program images Sunday, June 2, 1:30pm Tour of Rivers Flow / Artists Connect Image Explore Rivers Flow / Artists Connect, featuring works by fifty artists who capture our profound, symbiotic relationship with significant rivers across the globe, and enjoy a scenic view of the Hudson River and Palisades, on an informative docent tour. Friday, June 7, 5–8pm Free First Fridays: The Muses Image Celebrate Pride Month and dance the night away with The Muses, a DJ duo helmed by Jack James and Daniel Walters that specializes in Parisian funk, house, disco, and underground pop. The Muses has recently been featured on Apple TV and Netflix, and at the Metropolitan Museum of Art, the Whitney Museum, and Lincoln Center. Enjoy our current exhibitions, as well as a bilingual art workshop with Carolina Amarillo. Cash bar. Generous support provided by Art Bridges Foundation’s Access for All program. Sunday, June 9, 2pm Out in Yonkers: A Conversation with Elizabeth de Bethune Image In recognition of Pride Month, HRM Trustee Angelique Piwinski interviews artist Elizabeth de Bethune about Out in Yonkers, Portraits from the Yonkers LGBTQ+ Community, her 2023 series of 14 formal portraits of queer people who live in Yonkers. Wednesday, June 12, 1–3pm Artist Workshop Series with Madge Scott Image Join artist Madge Scott, whose work is featured in Rivers Flow / Artists Connect, in the fourth workshop in a series inspired by the life of rivers. Thursday, June 13, 6pm Gilded Splendor: A Hudson River Museum Gala Image Revel in the 100th anniversary of the Hudson River Museum’s stewardship of Glenview, our beautiful Gilded Age home on the National Register of Historic Places, while celebrating the stunning summer exhibitions and three outstanding honorees. Purchase tickets. Saturday, June 15, 2pm Reflections of the Civil War: Motifs in Hudson River Landscapes Image Join professor and historian Richard J. Friswell and living-history actor and historian Gwendolyn Quezaire-Presutti for a talk, performance, and gallery walk in honor of Juneteenth. Support provided by Art Bridges. Sunday, June 16, 1:30pm Gallery Talk with Artist Courtney M. Leonard Image Join artist Courtney M. Leonard for an in-gallery discussion of her practice and work, including her BREACH series on view in Rivers Flow / Artists Connect. Simultaneous ASL interpretation will be provided. Support provided by Art Bridges. Friday, June 21, 7pm Pink Floyd’s The Dark Side of the Moon Image Celebrate the 50th anniversary of Pink Floyd’s iconic album The Dark Side of the Moon with an immersive fulldome planetarium show. Tickets: $20; Members $15; includes general admission from 12–7pm. Recommended for ages 10+; 42-minute show. Advance reservations are encouraged. Saturday, June 22, 2pm Call to Action: Conversation About the Hudson River Cleanup Image Join us for a panel featuring artist Susan Wides, journalist David Gargill, and Tracy Brown, President of Riverkeeper, about the EPA’s evaluation of General Electric’s efforts to remediate the Hudson River. Support provided by Art Bridges. Saturday, June 29, 2pm Kindred Worlds: A Conversation with Priscila and Alvin Hudgins Image Collectors Priscila and Alvin Hudgins III, curator Alyssa Alexander, and featured artists Laurena Finéus and Raelis Vasquez discuss Kindred Worlds: The Priscila and Alvin Hudgins Collection. Yonkers residents and long-time art enthusiasts, the Hudgins have amassed an impressive collection of work by contemporary artists of primarily African descent over the last decade. The conversation will cover their collector beginnings, what it means to collect Black art in the current market, their artist residency in Cartagena, Colombia, and more. Support provided by Sarah Lawrence College through a generous grant from the Mellon Foundation. Planetarium Shows Saturdays & Sundays in June, 12:30pm Legends of the Night Sky: Perseus and Andromeda Image The stars tell the story of beautiful Andromeda, who is punished by the gods for her mother’s bragging, sacrificed to a sea monster, and then rescued by Perseus. Watch the trailer. Recommended for ages 8+; 25-minute show plus Q&A. Advance reservations are encouraged. Saturdays & Sundays in June, 2pm The Sky Tonight Image Take an awe-inspiring tour of the night sky as seen from our area. In June, the three bright stars of the Summer Triangle will become visible long before the sky gets its darkest. Recommended for ages 8+; 60-minute live and interactive show. Advance reservations are encouraged. The Sky Tonight is sponsored by Domino Sugar Yonkers Refinery. Saturdays & Sundays in June, 3:30pm Moonbase: The Next Step Image In Moonbase: The Next Step, you’ll learn about efforts to establish a permanent, scientific outpost on the Moon. Watch the trailer. Recommended for ages 9+; 21-minute show plus Q&A. Advance reservations are encouraged. Glenview Tours Thursdays & Fridays, 1pm; Saturdays & Sundays, 1 & 3pm Gilded Age Glenview: Historic Home Tour Image Explore the six fully restored period rooms on a guided tour. Capacity is limited to 15 visitors per tour. Advance ticket purchase is encouraged. Recommended for ages 8+. Strollers are not permitted in Glenview. Family Art & Science Workshops Saturdays & Sundays in June, 12–4pm Family Art Workshop: Fluid Sculptures Image Capture the dynamic movements of dancers in ballet-inspired sculptures using materials such as wire and clay. Designed by Teaching Artists-in-Residence MorDance. Recommended for ages 4+. Support provided by Art Bridges. Saturdays & Sundays in June, 12–4pm Family Art Workshop: Proud Portraits Image Learn more about LGBTQ+ history and create your own collage using cardboard, glitter glue, and print-outs of historically significant LGBTQ+ figures. Recommended for ages 4+. Saturdays & Sundays in June, 12–4pm Family Science Workshop: Spring Micro-Safari Image With the help of the HRM Junior Docents, take a micro-safari using materials we’ve gathered from local woods and waters. Recommended for ages 5+. Images: Left: Alvin Clayton (American, b. 1960). The Garden Setting, 2024. Oil on canvas. Courtesy of the artist. Right: Red Grooms (American, b. 1937). Exterior of Mendoza Book Company, 1978. Ink marker on paper. Collection of the Hudson River Museum. Gift of the artist and Lysiane Luong, 2024 (2024.5.8). Press contact: Jeana Wunderlich jwunderlich@hrm.org (914) 963-4550 x240 Samantha Hoover shoover@hrm.org (914) 963-4550 x216 ### The Hudson River Museum is a preeminent cultural institution in Westchester County and the New York metropolitan area. The Museum is situated on the banks of the Hudson River in Yonkers, New York, with a mission to engage, inspire, and connect diverse communities through the power of the arts, sciences, and history. The HRM offers engaging experiences for every age and interest, with an ever-evolving collection of American art and dynamic exhibitions that range from notable nineteenth-century paintings to contemporary art installations. The campus, which recently expanded to include a West Wing with exhibition galleries and sweeping views of the Hudson River, features Glenview, an 1877 house on the National Register of Historic Places; a state-of-the-art planetarium; an environmental teaching gallery; and an outdoor amphitheater. The Museum is dedicated to collecting, preserving, exhibiting, and interpreting these multidisciplinary offerings, which are complemented by an array of public programs that encourage creative expression, collaboration, and artistic and scientific discovery. The Museum is accredited by the American Association of Museums (AAM), an honor awarded to only 3% of museums nationwide. Hours and Admission: The Hudson River Museum is open to the public Wednesday–Friday, from 12–5pm, and Saturday–Sunday, from 11am–5pm. On Free First Fridays, the Museum is open and free of charge on the first Friday of the month, from 5–8pm. Learn more and purchase tickets at hrm.org/visit. General Admission: Adults $13; Youth (3–18) $8; Seniors (65+) $9; Students (with valid ID) $9; Veterans $9; Children (under 3) FREE; Members FREE; Museums for All* $2, *SNAP/EBT card with photo ID (up to 4 people). Planetarium tickets: Adults $7; Youth (3–18) $5; Seniors (65+) $6; Students (with valid ID) $6; Veterans $6; Children (under 3) Free. Glenview tours: Adults $7; Youth (3–18) $5; Seniors (65+) $6; Students (with valid ID) $6; Veterans $6; Children (under 3) Free. The Museum is accessible by Metro-North (Hudson Line—Yonkers and Glenview stations), by Bee-Line Bus Route #1, by car, and by bike. Make your visit a One-Day Getaway, and buy a combined rail and admission discount ticket. Learn more about Metro-North Deals & Getaways.
6840	dbpedia	1	17	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	2	42	https://www.postman.com/opamcurators/open-access-museums/documentation/pc14u6w/the-cleveland-museum-of-art-open-access-api	en	Postman	https://www.postman.com/…favicon-1-16.png	https://www.postman.com/…favicon-1-16.png	[]	[]	[]	[ "" ]	null	[]	null		en	/_ar-assets/images/favicon-1-16.png		null
6840	dbpedia	3	18	https://www.themagazineantiques.com/article/sanford-r-gifford-in-the-catskills/	en	Review: Sanford R. Gifford In the Catskills at the Thomas Cole House	https://www.themagazinea…tskills_1861.jpg	https://www.themagazinea…tskills_1861.jpg	[ "https://www.themagazineantiques.com/wp-content/uploads/2022/01/TMA-100-web-hed.png", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/05_SRG_Twilight_in_the_Catskills_1861-862x434.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_Mount-Merino_AIHA_1998.2.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/HENRY_ARY_South_Bay_and_Mount_Merino-1.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/Jervis_McEntee_Summer-Hills.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_Double-Self-Portrait.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SAV_2016Fall_MoA_SanfordGifford_JM_2.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/05_SRG_Twilight_in_the_Catskills_1861.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_A-Sketch-in-Kauterskill-Clove_Harvard.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/03_Catskill_Mountain_House_PLACEHOLDER.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_A-Ledge-in-the-Catskills.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_Sketch_Old-Tannery_Kauterskill-Clove.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/09_Gifford-A-Sketch-of-Hunter-Mountain-Catskills-Twilight-on-Hunter-Mountain-Oct.-9-1865.Unframed.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/08_Gifford_Study-for-View-from-South-Mountain_PMA2016.22.jpg", "https://www.themagazineantiques.com/wp-content/uploads/2017/09/SRG_View-Near-Kauterskill-Clove_1878.jpg", "https://www.themagazineantiques.com/wp-content/plugins/ultimate-social-media-icons/images/follow_subscribe.png", "https://www.themagazineantiques.com/wp-content/plugins/ultimate-social-media-icons/images/visit_icons/fbshare_bck.png", "https://www.themagazineantiques.com/wp-content/plugins/ultimate-social-media-icons/images/visit_icons/en_US_Tweet.svg", "https://www.themagazineantiques.com/wp-content/plugins/ultimate-social-media-icons/images/share_icons/Pinterest_Save/en_US_save.svg", "https://www.themagazineantiques.com/wp-content/uploads/2019/08/web-cover-border.jpg" ]	[]	[]	[ "" ]	null	[ "Editorial Staff" ]	2017-09-06T15:35:19+00:00	Since 1922, The Magazine ANTIQUES has been America’s premier publication on the fine and decorative arts, architecture, preservation, and interior design.	en	https://www.themagazinea…o_cyan-32x32.png	The Magazine Antiques	https://www.themagazineantiques.com/article/sanford-r-gifford-in-the-catskills/	Among members of the Hudson River School of painting, Sanford Robinson Gifford (1823–1880) has long been considered one of the most brilliant painters of light and air. His art is the subject of the intimate, beautifully curated exhibition Sanford R. Gifford in the Catskills on view through October 29th at the Thomas Cole National Historic Site in Catskill, New York. Kevin J. Avery, a major specialist in the art of the Hudson River School, curated this showing of eighteen paintings of the region dating from 1846–1878, which range from Gifford’s earliest extant painting, a view of the famous Kaaterskill Falls in the Kaaterskill Clove gorge to View Near Kauterskill [sic, per the nineteenth-century spelling of the name], painted in 1878 when he was nearing the end of his life and adopted a looser and more painterly style. The exhibition purports to be the largest showing of Gifford’s work to be held so close to his childhood home in Hudson, the recently revitalized city laying directly across the Hudson River from Catskill, the home of pioneering landscape painter and dean of the Hudson River School Thomas Cole from 1825–1847. In 2003, Avery served as co-curator with Franklin Kelly of the retrospective exhibition of Gifford’s work that was view at The Metropolitan Museum of Art and the National Gallery of Art. His research and essay “Gifford and the Catskills” served as the touchstone for his organization of the current exhibition and the ideas expounded in his essay for the accompanying fully illustrated catalog.1 Visitors might also enjoy reading Avery’s essay written for the retrospective, which is lengthier and offers additional detail about Gifford’s fascination with the Catskills. Four of the works in the exhibition were included in the pioneering exhibition of Gifford’s art shown at the Alexander Gallery in New York in 1986. The accompanying catalog, with an essay by Gifford authority Ila Weiss, continues to be an important contributor to our knowledge of Gifford’s art and achievements.2 The second exhibition installed in Thomas Cole’s New Studio (built according to Cole’s own design), Sanford R. Gifford in the Catskills features loans from galleries, private collections and museums, including the Yale University Art Gallery, Harvard Art Museums/Fogg Museum, the Portland Museum of Art and the Albany Institute of History & Art. The showstopper is the Yale University Art Gallery’s twenty-seven by fifty-four inch Twilight in the Catskills. It is possible to see six of the views pictured in the exhibition by following the Hudson River School of Art Trail, a walking-and-driving experience that reveals nearby settings in the Hudson Valley where visitors experience the views appearing in nineteenth-century works by the artists of the Hudson River School. * Sanford Robinson Gifford was born in the summer of 1823 in Greenfield, New York, near Saratoga Springs. Later the same year the family settled in Hudson, where his father founded the Hudson Iron Works. He grew up within sight of Thomas Cole’s house, which he was able to witness on the other side of the Hudson River. It was only natural that Cole’s work would become the primary early source for his pictorial ideas. The aspiring artist dropped out of Brown University in 1844, and the next year he journeyed to New York City to study drawing with John Rubens Smith, attend classes at the National Academy of Design, and seek his fortune as a portrait painter. He became enamored with landscape painting during the course of a sketching trip to the Catskills and Berkshires in 1846, and fueled by his admiration for Cole’s art, he decided instead to become a landscape specialist. Gifford depicted over a hundred sites in the Catskills—including over sixty of the Hudson River and its environs. He was also a chronicler of other areas of New York State, including the Adirondacks and the Shawangunk Mountains. Of the list of approximately seven hundred pictures by the artist noted in The Metropolitan Museum of Art’s memorial catalog of 1880 of Gifford’s works two hundred and fifty feature New York subjects. The landscape painter Worthington Whittredge, who was introduced to the Catskills by Gifford, remarked at his friend’s memorial: “As an artist he was born in the Catskill Mountains. He loved them as he loved his mother, and he could not long stay away from either. No autumn came when he did not visit them, and for a long period of his artist life he went in summer to the Catskills as a boy goes to school.”3 He further remarked that as a youth Gifford gazed across the river at the house of Cole “which lighted up the path he was to follow.”4 Among the earliest paintings in the exhibition is Mount Merino and the City of Hudson in Autumn of about 1852 (Fig. 1), which features an image in the middle distance of the tower of the Hudson Academy, the private preparatory school Gifford attended as a boy. In the early 1850s, the young artist frequently depicted the town of Hudson and nearby Mount Merino (named for its grazing sheep), typically including a view of the Catskill Mountains in the background of his compositions. In his catalog essay for the current exhibition Avery points out that in this canvas Gifford “managed, wittingly or not, to link his own early cultivation with the hills that had already beckoned him artistically and would continue to do so throughout his life.”5 Included in the exhibition is Henry Ary’s South Bay and Mount Merino of 1851 (Fig. 2), which includes a glimpse at lower right of the Hudson Iron Works, which Gifford’s father co-founded and for which he long remained a trustee. The iron works stood at the edge of the city’s harbor (then known as South Bay). It is likely that the Hudson-based Ary served as Gifford’s art teacher during the early 1840s. Later he went on to teach art to Gifford’s sister Mary at the Hudson Female Academy. Ary and Gifford joined together on sketching trips to the Catskills. In a pencil drawing by Gifford of 1849, which is reproduced in the exhibition catalog, Ary is pictured seated on a rock along the Schoharie Kill. Gifford himself is pictured seated on a rocky outcropping in Jervis McEntee’s Summer Hills, Kauterskill Clove of 1868 (Fig. 3), which is also included in the exhibition. McEntee was born and raised downriver from Hudson in Rondout, located a short distance south of the Catskill Mountains, on the western side of the Hudson River. Of Gifford’s work McEntee opined “The poetic soul revels in the sunshine and the air, seeking everywhere the expression of its serene joy.”6 Gifford’s double self-portrait drawing of 1853 is featured in the exhibition (Fig. 4), and pictures the artist looking amiably and warmly out at the viewer. Reportedly Gifford was reflective, calm, sensitive and capable of deep feeling. Ila Weiss has referred to him as a man of a few well-chosen words, who “appreciated the mystery and suggestiveness of inexplicitness . . . .”7 The aforementioned Kauterskill Falls (Fig. 5) was painted from a perch on Horseshoe Ledge, west of the famous cascade. The falls have long been a requisite stopping place for tourists to the region, as well as a favorite subject of painters. Gifford may have been aware that the falls was the subject of one of the first landscapes Cole painted in New York State. Gifford’s painting was created at a time when Cole was taking a renewed interest in depicting Catskills scenery. Gifford may have met the older artist when the two were sketching in the region in 1845. Gifford’s painting resembles the plein air motifs painted in the woodlands of the Catskills by Asher B. Durand. Generally, Gifford preferred to paint subjects off the beaten path, both to tourists and fellow artists. He essayed Kauterskill Falls only twice more—both times in 1871 during a stay near the top of the falls at Laurel House. During the Civil War Gifford often pictured the Catskills. From 1861–1863, he served three tours of duty with the Seventh Regiment of the New York State National Guard. While on tour he longed to be with his family in Hudson and to go on sketching excursions in the region. During breaks from the National Guard he went on campaigns in the Catskills and nearby Shawangunk Mountains and Adirondacks. At the end of his military tour in 1862 he related to his friend Jervis McEntee that he didn’t think he could “feel quite easy in my conscience to go to [New York City] without paying my respects to the [Catskill] mountains.”8 Twilight in the Catskills (Fig. 6) was discovered in the late 1990s after it had been absent from public view since it was shown to great fanfare at the 1861 annual exhibition of the National Academy of Design. Frederic Edwin Church’s Twilight in the Wilderness (1860, Cleveland Museum of Art) emboldened Gifford to create a dramatic, sublime and elegiac view of the Kauterskill Clove on the eve of the American Civil War. In this work, Gifford made a conscious and determined break from the interest he had developed under the influence of Joseph Mallord William Turner in picturing opalescent atmospheric effects and placing an image of the setting sun along the central axis of his compositions. Art critic and writer George Sheldon adroitly referred to this large and emotionally powerful painting as “lowering, strange, almost awful.”9 A Sketch in Kauterskill Clove (Fig. 7) served as a sketch for Gifford’s well-known A Gorge in the Mountains (1862, The Metropolitan Museum of Art), and is infused with the artist’s standard love of radiant and golden effects. Gifford painted the Kauterskill Clove more times than any subject. Here is pictures the clove from the east. This is the flip-side of the view of the clove favored by Cole and Durand, who pictured the area from the west where it opens out into the Hudson River Valley. In The Catskill Mountain House of 1862 (Fig. 8), Gifford also pictured a popular landmark in an unique way. He emphasized the famous hotel’s chief attraction—its panoramic view of the Hudson River Valley—rather than the architectural grandeur of the hotel. The view became a subject of special interest following the publication in 1823 of James Fennimore Cooper’s novel The Pioneers, which included Natty Bumpo’s paean to the remarkable view of the Hudson River and the Berkshire and Taconic ranges from Pine Orchard. Other exhibition highlights dating from the early 1860s include A Ledge in the Catskills (Fig. 9), which features a view of a rocky outcropping, looming to the right of a distant, misty blue-gray rendering of the Kauterskill Clove. A Sketch of the Old Tannery in Kauterskill Clove (Fig. 10) includes the wooden ruin of a tannery in the foreground, and alludes to the collapse of the tanning industry in the Catskills in the decades after the Civil War. Also included is a panoramic study of 1864 of the wave-like Trapps of the Shawangunk Mountain range, located south of the Catskills. Gifford was one of the earliest artists to recognize the Shawangunks beauty and potential for artistic exploration. As in four other works in the exhibition, the sun hangs just above the horizon in the painting, where it floods the sky with bright and radiant light. A Sketch of Hunter Mountain, Twilight (Fig. 11) dates from October 1865, five months after the end of the Civil War. The picture is one of three preparatory oils for Gifford’s large and well known oil Hunter Mountain, Twilight (1861, Terra Foundation of American Art), exhibited at the 1866 annual exhibition of the National Academy of Design and at the Paris Universal Exposition of the following year. Hunter Mountain rises in the background bathed in twilight. Visible in the foreground are the devastating effects perpetrated on Catskill landscape by the local tanning industry. The painting’s somber mood, crepuscular treatment of light, and ravaged foreground of rocks, fallen trees and tree stumps may be a general reflection of his emotional response to the conclusion of the bloody and tragic Civil War, Abraham Lincoln’s assassination, and the death of Giffords two brothers in the course of the early 1860s, one by suicide and the other following an escape from a confederate prison camp. In the late 1860s and 1870s Gifford specialized in painting European landscape subjects and scenes farther afield in in Egypt, Turkey and Greece. His art was caught up in the wake of enthusiasm for views of popular sites abroad that emerged following the Civil War. Gifford continued to visit the Catskill Mountains, but his Catskill subjects diminished in terms of their number, scale and ambition. Most of his later pictures of the region are sketches, studies or small cabinet paintings. Included in the exhibition are two Catskill paintings dating from the 1870s. Study for the View from South Mountain in the Catskills of 1873 (Fig. 12) features a panoramic view in the direction of Sunset Rock and Kauterskill Falls. This work was the source for Robert Hinshelwood’s engraving South Mountain – Catskills published in The London Repository, which is also on view. View Near Kauterskill Clove of 1878 (Fig. 13) demonstrates Gifford’s new looser and richer handling of pigment, a reflection of his openness to a more contemporary style of painting and his embrace of autumn as a time when the forest undergoes a colorful transformation. Sanford G. Gifford in the Catskills celebrates the Hudson River School painter’s love and devotion to the Catskill Mountains, and his special talent for creating a unifying veil of color, light and atmosphere. Art writer and critic George Sheldon termed Gifford’s style of landscape painting “air painting,” because of the artist’s predilection for disintegrating form in the middleground of his compositions.10 The art writer and artist Samuel Isham, on the other hand, applauded Gifford for his sensuality, and interest in basing pictures around artistic problems. Though “air painting,” and coming up with solutions to artistic problems, lay at the heart of Gifford’s artistic process he never strove far from infusing nature, light and atmosphere with mystery, beauty and poetry. In many ways, Gifford was the poet painter of the Hudson River School. Bruce Weber recently authored a book-length essay entitled “A Timeless Perfection: American Figurative Sculpture in the Classical Spirit” for The Westmoreland Museum of American Art, celebrating a recent gift from Dr. Michael L. Nieland. There is an accompanying exhibition opening in early October.
6840	dbpedia	1	2	https://en.m.wikipedia.o…alters_37122.jpg	en	File:Asher Brown Durand	https://upload.wikimedia…alters_37122.jpg	https://upload.wikimedia…alters_37122.jpg	[ "https://en.m.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg/482px-Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Wikidata-Reasonator_small_logo.svg/5px-Wikidata-Reasonator_small_logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/19/Asher_B._Durand_by_Abraham_Bogardus.jpg/120px-Asher_B._Durand_by_Abraham_Bogardus.jpg", "https://upload.wikimedia.org/wikipedia/commons/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/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/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg/201px-Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg", "https://upload.wikimedia.org/wikipedia/commons/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/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/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/8/8f/Walters_Art_Museum_logo.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Openstreetmap_logo.svg/20px-Openstreetmap_logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Google_Maps_icon_%282020%29.svg/14px-Google_Maps_icon_%282020%29.svg.png", "https://upload.wikimedia.org/wikipedia/commons/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/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/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/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/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/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/8/81/Nuvola_filesystems_folder_home.svg/20px-Nuvola_filesystems_folder_home.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f0/Permission_logo_2021.svg/75px-Permission_logo_2021.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/77/Wikimedia_Commons_Query_Service_Logo.svg/15px-Wikimedia_Commons_Query_Service_Logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c4/Walters_Art_Museum_logo_gray.png/100px-Walters_Art_Museum_logo_gray.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Dialog-warning.svg/25px-Dialog-warning.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/64px-PD-icon.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg/96px-Asher_Brown_Durand_-_The_Catskills_-_Walters_37122.jpg", "https://login.m.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&mobile=1", "https://en.m.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/static/apple-touch/wikipedia.png		https://commons.wikimedi…alters_37122.jpg	This work is free and may be used by anyone for any purpose. If you wish to use this content, you do not need to request permission as long as you follow any licensing requirements mentioned on this page. The Wikimedia Foundation has received an e-mail confirming that the copyright holder has approved publication under the terms mentioned on this page. This correspondence has been reviewed by a Volunteer Response Team (VRT) member and stored in our permission archive. The correspondence is available to trusted volunteers as ticket #2012021710000834.
6840	dbpedia	2	9	https://www.frommers.com/trip-ideas/cultural-immersion/the-catskills-vietnam-barcelona-and-more-frommers-announces-the-top-10-up-and-coming-destinations-for-summer-2005	en	The Catskills, Vietnam, Barcelona, and More: Frommer's Announces the Top 10 Up and Coming Destinations For Summer 2005	https://www.frommers.comhttp://placehold.it/300x200	https://www.frommers.comhttp://placehold.it/300x200	[ "https://www.frommers.com/assets/frommers-logo-default-2015-d718c2c79e306e5e95f23484061487e0c5201a22d37df2e676efc9bb132451da.webp", "https://www.frommers.com/system/media_items/attachments/000/871/507/s150/frommers_guanajuato_best_places.jpg?1697729374", "https://www.frommers.com/system/media_items/attachments/000/869/910/s150/California_Road_Trip_Guides.png?1673037874", "https://www.frommers.com/system/media_items/attachments/000/857/482/s150/open-uri20161011-29531-o92se?1476226986", "https://www.frommers.com/system/media_items/attachments/000/854/971/s150/brownpau.jpg?1433856745", "https://www.frommers.com/system/media_items/attachments/000/863/668/s150/BCSilverSalmonCreekLodgecp.jpg?1546982612", "https://www.frommers.com/system/media_items/attachments/000/857/300/original/get-inspired-banner_image.webp?1476220817", "https://www.frommers.com/assets/frommers-logo-default-2015-d718c2c79e306e5e95f23484061487e0c5201a22d37df2e676efc9bb132451da.webp", "https://www.frommers.com/system/media_items/attachments/000/856/789/s150/Asia_Erwin_Soo-Flickr-490x294.jpg?1470237676", "https://www.frommers.com/system/media_items/attachments/000/856/792/s150/Australia2_Tourism_Australia-490x294.jpg?1470238098", "https://www.frommers.com/system/media_items/attachments/000/856/790/s150/Caribbean_Nickelstar-Flickr-490x294.jpg?1470237573", "https://www.frommers.com/system/media_items/attachments/000/856/791/s150/South_America_Ken_Bosma-Flickr-490x294.jpg?1470237589", "https://www.frommers.com/system/media_items/attachments/000/802/098/s150/europe-dest-cover.jpg?1470169896", "https://www.frommers.com/system/media_items/attachments/000/855/335/s150/me-africa-dest-cover.jpg?1470169431", "https://www.frommers.com/system/media_items/attachments/000/809/588/s150/northamerica-dest-cover.jpg?1470169456", "https://www.frommers.com/system/media_items/attachments/000/348/401/s150/united-states-dest-cover.jpg?1470169476", "https://www.frommers.com/system/media_items/attachments/000/855/363/s150/nyc-dest-cover.jpg?1470169986", "https://www.frommers.com/system/media_items/attachments/000/856/827/s150/Paris_Daniel_Stockman-490x294.jpg?1470330739", "https://www.frommers.com/system/media_items/attachments/000/853/765/s150/vegas-dest-cover.jpg?1470170025", "https://www.frommers.com/system/media_items/attachments/000/855/360/s150/wash-dc-dest-cover.jpg?1470169559", "https://www.frommers.com/system/media_items/attachments/000/855/329/s150/los-angeles-dest-cover.JPG?1470170146", "https://www.frommers.com/system/media_items/attachments/000/855/354/s150/rome-dest-cover.jpg?1470169679", "https://www.frommers.com/system/media_items/attachments/000/855/359/s150/hong-kong-dest-cover.jpg?1470170185", "https://www.frommers.com/system/media_items/attachments/000/856/793/s150/San_Francisco_San_Francisco_Travel-490x294.jpg?1470238048", "http://b.scorecardresearch.com/p?c1=2&c2=6486636&c3=&c4=&c5=&c6=&c15=&cj=1", "https://pixel.quantserve.com/pixel/p-cax4-257AsPog.gif", "https://www.googleadservices.com/pagead/conversion/999399283/?label=uFHRCJXF5gMQ877G3AM&guid=ON&script=0" ]	[]	[]	[ "" ]	null	[ "Frommer's Staff" ]	null	Looking for an insider recommendation on the next must-see place? Frommer's polled their h	en	https://www.frommers.com/favicon.gif		https://www.frommers.com/trip-ideas/cultural-immersion/the-catskills-vietnam-barcelona-and-more-frommers-announces-the-top-10-up-and-coming-destinations-for-summer-2005	Looking for an insider recommendation on the next must-see place? Frommer's polled their hundreds of outspoken experts around the world for their top picks on up and coming destinations near and far. Baltimore: If you've never considered Baltimore, now is the time. It's undergoing a cultural renaissance that goes beyond baseball and steamed crabs. Check out the fascinating medieval art, suits of armor, and Egyptian mummies at the Walters Art Museum. Then, fast forward to the American Visionary Art Museum where the offbeat and funky works will engage your imagination. Go "down under" at the always popular National Aquarium in its new wing devoted to "Animal Planet Australia" opening this fall. Top off your day by visiting one of the new ethnic restaurants that have been popping up in neighborhoods like Fells Point, Mount Vernon, and Little Italy that make dining an event unto itself. A Must: Shop 'til you drop on Antique Row, where you'll discover silver, porcelains and chairs of all sizes and shapes. Barcelona: These days, it's hard not to spend a pretty penny when visiting Europe, so be sure to choose a place that's worth the splurge. Barcelona certainly is! This happening city is not only situated in a scenic location but it's exploding with new hip restaurants and attractions. From the newly renovated National Art Museum of Catalonia to the always eye-popping works of Gaudi and Picasso, Barcelona is an art lover's city. But don't spend all of your time inside. The warm climate and unique outside spaces throughout the city make wandering an adventure. Be sure to take the funicular up to Tibidabo Mountain where you'll discover the finest views. A Must: Dine on the freshest seafood and produce at Jean Luc Figueras, located in the former studio of Balenciaga. Belize: For those looking to pack a lot of variety into their trip without spending a lot of time traveling, Belize is the perfect choice. Its compact size allows you to watch the sun rise from a hammock, spend the night in a Mayan ceremonial city, and snorkel into Shark-Ray Alley for a guaranteed close encounter with stingrays and nurse sharks, all in just a few days. Explore the extensive network of very accessible caves throughout Western Belize, which are believed by the ancient Mayans to be a mystical realm. Or, if you'd rather be above ground, visit the Cayo District on horseback and check out the breathtaking jungle waterfalls, plunge into cool swimming holes, and view nearby Mayan ruins. A Must: Stargazing from a deserted beach or a rural mountain getaway. Cambria, California: Not quite Northern Californian and not quite Southern, Cambria has a personality all its own. A longtime artists colony, it abounds with quirky but charming seaside inns (many of which accept pets, making this the best place in California to vacation with Fido) and friendly, down-home restaurants. A colony of elephant seals at a vista point called Piedras Blancas frolic and sun themselves on the rocks all year long; knowledgable docents are always on hand to answer questions. Cambria is also the perfect base from which to explore nearby Hearst Castle (one of the premier tourist sites in the state), and the central coast vineyards (some of which were featured in the hit film "Sideways"). A Must: Spend a Friday or Saturday evening at Hearst Castle, where living history players give you the closest glimpse possible of what life might have been like in Hearst's Day. The Catskills, NY: "America's First Wilderness" is boldly beautiful and remote -- and only 100 miles north of New York City. The Catskills offer world-class fly-fishing, and sheer cliffs for rock climbers. Climb to the tower of Skytop where you'll see six states on a clear day. Take an outing to Kaaterskill Falls where the rush of the highest waterfall in New York State will leave you awestruck. If you left your fleece at home and would rather shop, the towns of Saugerties and Phoenicia offer stylishly creative shops, worthwhile antiquing, pick-your-own co-ops, dairy farms, and a growing number of gourmet restaurants. A Must: For a taste of the groovy days of the 70's, peer through a 60-foot tall kaleidoscope at the Kaatskill Kaleidoscope Theater. The Cook Islands, South Pacific: Boasting the beauty and far-away feel of neighbors like Bora Bora and Tahiti but with significantly lower price tags, these picturesque and vibrant gems are the next hot spots of the South Pacific. The Cook Islands enrapture all who step foot on its white, sandy, coconut-studded beaches, hike its mountainous interiors, and explore its azure lagoons. While there, be sure to meet Pa, a local tour guide who will lead intrepid explorers on the Cross Island Track, a hike that winds along a stream high up to the base of "The Needle". Along the way hikers will discover unique plants, animals, and learn some of the fascinating local lore. A Must: Take part in the hip-swinging, colorful dances and dine on traditional foods during An Island Night Feast. Hoi An, Vietnam: Although the entire country deserves exploration, don't miss the charming town of Hoi An. Once an important ceramic trading post, today it is a vibrant town with over 800 historical landmarks. Wander through historic homes and temples, ride a sampan down the lazy river, or head to the beach for a little refreshment. On top of all this, Hoi An is a shopper's mecca. Visit the spice ladies at the central market, take home some handicrafts or indulge in the gorgeous, colorful silks that represent the best selection in the country. For under $40 US you can have a luxurious custom-tailored suit made in just 24 hours. A Must: Witnessing the candlelit lantern procession along the riverfront during the full moon of every month. Paraty, Brazil: Once the main shipping port for gold on its way to Portugal, Paraty faded into oblivion at the end of the 19th century, when the gold rush ended, and the abolition of slavery put an end to the local coffee industry. Thousands abandoned the city, and it became a virtual Brigadoon, a city trapped in time. Today, visitors are greeted by a perfectly preserved Colonial City (it's a UNESCO World Heritage Site), which has been reclaimed by artists, many of which have set up fine local galleries. Paraty also boasts some of the finest restaurants in Brazil. The city is surrounded by coastal rainforest on one side and a turquoise bay on the other, dotted with 65 small, mostly uninhabited islands. A Must: Rent a boat and driver for the day, for just $45, and island-hop at will, visiting pristine beaches and tiny island restaurants. Puerto Rico: For a great warm-weather getaway without spending big bucks, leave the mega beach resorts behind and visit Ponce on the south side of the island where you'll encounter a wealth of history, culture and nature. With gas- lit lined streets and horse-drawn carriages clattering along pink marble streets, it's easy to recall the colonial days gone by. Ponce is also home to the Museo de Art, the finest collection of European and Latin American art in the Caribbean. Mix in the lively street festivals and colorful marketplaces and a trip here is sure to be a rich one. For a taste of nature, head west from Ponce and discover over 750 plant and tree species and unique birds that live in one of the best-preserved sub-tropical eco-systems on the planet. A Must: Meet the giant iguanas and endangered sea turtles on a day trip from Mayaguez to Mona Island. South Africa: Everyone knows about the big game parks but there are many extraordinary non-safari experiences to found throughout the country. Head east from Cape Town and explore the freshwater coastal lakes, magnificent caves, waterfalls and indigenous forests of the Wilderness National Parks and the breathtaking coastline of the Garden Route. It's here that you can visit an ostrich farm, encounter a white shark, and explore the dusty towns that showcase a very distinct architectural style. In Plettenberg Bay be sure to find some time for the beaches, the best in the area, and don't miss the magnificent homes that overlook them. From "Plett" you can go on marine safari where you'll come face to face with humpbacks, dolphins and coastal birds. A Must: In the spring head to Namaqualand to witness thousands of wild flowers bursting into spectacular bloom.
6840	dbpedia	1	3	https://www.nga.gov/collection/art-object-page.71025.html	en	Art Object Page	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	https://www.nga.gov/content/dam/ngaweb/icons/favicon.ico	[ "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!588,600/0/default.jpg", "https://www.nga.gov/etc/designs/ngaweb/images/icons/cc-zero.svg", "https://media.nga.gov/iiif/7ce06963-2e5f-4d9e-9a38-3c1b59e80a81/full/!600,600/0/default.jpg", "https://www.nga.gov/content/dam/ngaweb/imgs/nga-campus-map-icon.jpg" ]	[]	[]	[ "" ]	null	[]	null	National Gallery of Art	en	/content/dam/ngaweb/icons/favicon.ico		null	In the spring of 1826, Thomas Cole met Robert Gilmor Jr., a highly knowledgeable and sophisticated Baltimore collector, who soon commissioned a view of Catskill Mountain House, a popular hotel overlooking the Hudson River Valley. After a summer spent sketching and painting in the area and corresponding with his patron concerning the selection of a new subject, Cole completed Sunrise in the Catskills in early December and had it delivered to Baltimore on Christmas Day. According to the artist, the painting shows sunrise from Vly Mountain, a peak near the eastern headwaters of the Delaware River. Cole chose a daringly elevated vantage point for the work, one where the viewer is poised looking out at several other mountains and at valleys filled with mist shining in the morning light. The foreground is filled with tangled bits of underbrush, contorted and fallen trees, and rough outcroppings of rock precariously situated at the slope's edge. This is not a tamed and cultivated portion of the American landscape but a remote, wild area with no evidence of human presence. Upon receiving the picture, Gilmor wrote immediately to Cole: "It is extremely well painted, with great truth of nature. I have seen a thousand such scenes when in the mountains, and though the task was a very difficult one, yet you have perfectly succeeded in rendering the mists of the valley rising as the sun began to peep over the summits of the mountains." As Cole's first fully expressed wilderness painting and a document of his relationship to his important early patron, Sunrise in the Catskills is a pivotal work in the story of 19th-century American landscape painting, containing the seeds of Cole's later masterpieces and anticipating the great wilderness pictures of his pupil Frederic Edwin Church in the 1850s and 1860s.
6840	dbpedia	3	19	https://www.si.edu/object/landscape-composition-catskills-painting%253Asiris_ari_34048	en	Landscape - Composition: In the Catskills, (painting)	https://www.si.edu/sites…png?v=Jy7B3ml8wp	https://www.si.edu/sites…png?v=Jy7B3ml8wp	[ "https://www.si.edu/sites/all/themes/si_baseline/images/logos/logo.svg", "https://logs1.smithsonian.museum/dcsuft0skadzpxvkk977nydg5_3r1t/njs.gif?dcsuri=/nojavascript&WT.js=No&WT.tv=10.4.23&dcssip=si.edu" ]	[]	[]	[ "" ]	null	[ "Smithsonian Institution" ]	null		en	https://www.si.edu/sites/default/files/favicon_1.ico	Smithsonian Institution	https://www.si.edu/object/landscape-composition-catskills-painting%253Asiris_ari_34048	Object Details painter Durand, Asher B. 1796-1886 Owner, 1975. Lawall, David B., "Asher B. Durand: a documentary catalogue of the narrative and landscape paintings," New York: Garland Pub., 1978, no. 125. Ferber, Linda S., ed., "Kindred Spirits: Asher B. Durand and the American Landscape," New York: Brooklyn Museum in association with D. Giles Limited, London, 2007, pg. 156. San Diego Museum of Art collection printout, 2007. Image on file. Lawall, David B., "Asher B. Durand: a documentary catalogue of the narrative and landscape paintings," New York: Garland Pub., 1978, fig. 63. Ferber, Linda S., ed., "Kindred Spirits: Asher B. Durand and the American Landscape," New York: Brooklyn Museum in association with D. Giles Limited, London, 2007, pl. 51. (Lower right:) A. B. Durand / 1848 signed The information provided about this artwork was compiled as part of the Smithsonian American Art Museum's Inventories of American Painting and Sculpture database, designed to provide descriptive and location information on artworks by American artists in public and private collections worldwide. Control number IAP 03940076 Type Paintings Medium Oil on canvas Owner/Location San Diego Museum of Art Balboa Park San Diego California 92101 Accession Number: 1974.72 Title Landscape--Composition, In the Catskills, (painting) Art Inventories Catalog, Smithsonian American Art Museums Topic Landscape--Mountain--Catskill Mountains Landscape--New York Landscape--River Figure group Equestrian Animal--Dog Record ID siris_ari_34048 Metadata Usage (text) Usage conditions apply
6840	dbpedia	1	16	https://judithdobrzynski.com/15913/a-father-son-endeavor	en	A Father-Son Endeavor From Rye to Raphael: The Walters Story	http://www.judithdobrzynski.com/dobrzynski/pics/339.jpg	http://www.judithdobrzynski.com/dobrzynski/pics/339.jpg	[ "https://pundicity.com/dobrzynski/headshot.jpg", "https://pundicity.com/images/pundicity-logo.png", "https://judithdobrzynski.com/images/icons/item_send_24.png", "https://cache.addthiscdn.com/icons/v3/thumbs/32x32/whatsapp.png", "https://cache.addthiscdn.com/icons/v3/thumbs/32x32/telegram.png", "https://judithdobrzynski.com/images/icons/item_print_22.png", "http://www.judithdobrzynski.com/dobrzynski/pics/large/338.jpg", "http://www.judithdobrzynski.com/dobrzynski/pics/large/339.jpg", "http://www.judithdobrzynski.com/dobrzynski/pics/large/340.jpg" ]	[]	[]	[ "Arts & Culture A Father-Son Endeavor: From Rye to Raphael: The Walters Story" ]	null	[ "Judith H. Dobrzynski" ]	null	Baltimore Even before J.P. Morgan, Henry Clay Frick and the other U.S. industrialists whose names are today synonymous with museums began amassing art, there was William T. Walters. Beginning in the 1850s, this whiskey merchant and railroad magnate		https://judithdobrzynski.com/favicon.ico	Judith H. Dobrzynski	https://judithdobrzynski.com/15913/a-father-son-endeavor	Baltimore Even before J.P. Morgan, Henry Clay Frick and the other U.S. industrialists whose names are today synonymous with museums began amassing art, there was William T. Walters. Beginning in the 1850s, this whiskey merchant and railroad magnate started a collection that became the Walters Art Museum here, whose 35,000 objects span ancient Egypt to the early 20th century. Yet his story and that of his son, Henry, who followed his father's lead and then bequeathed their trove to the city, is far less known. "Sea of Galilee" "From Rye to Raphael: The Walters Story," which opened this fall to celebrate the museum's 80th anniversary as a public institution, is a welcome and fascinating, if slightly flawed, corrective. To tell its creation story, the museum has filled its fourth floor—normally home to 19th-century paintings, a gallery for prints and drawings, and some decorative arts—with more than 200 works of art, purchased internationally, that show the tastes and passions of the father-and-son duo. Some are always on view; others were pulled from storage. They are supplemented by photographs, archival documents, monogrammed china and a 19th-century whiskey bottle. William Walters developed his penchant for art because his mother said it would make him a better citizen. He began buying and commissioning American art (mostly), often with a moralistic message, to display in his townhouse. A classical, life-size marble that stood at the base of his grand staircase, William Henry Rinehart's "The Woman of Samaria" (1862), dominates the introductory gallery of his early purchases. With a draped blouse baring her shoulder, she is the fallen woman who, during their conversation at a well, recognizes Jesus as the Messiah. Walters championed Rinehart and bought many pieces from him. On a nearby wall, "The Scarlet Letter" (1861) by Hugues Merle illustrates why this French artist was a rival to famed realist painter William-Adolphe Bouguereau, who is renowned for his rendering of, well, female flesh. Here, Hester Prynne, protectively clutching her illegitimate daughter in a Madonna-and-Child pose, is a symbol of the redemption that can follow sin. Nice, but not quite Bouguereau. Morality and religious themes pop up occasionally throughout the exhibition—notably in the next gallery, where Delacroix's "Christ on the Sea of Galilee" (1854) and "Christ on the Cross" (1846) hang—but father and son also collected landscapes, among other things. They started with canvases like "The Catskills" (1859), commissioned from Asher B. Durand and a fine, representative work by this charter member of the Hudson River School. But after the Civil War broke out in 1861, enveloping Baltimore in turmoil, the Walters family fled to Paris, precipitating a change in taste. Upon their return, William sold many American paintings—including "Twilight in the Wilderness" by Frederic Edwin Church, which is now owned by the Cleveland Museum of Art—and started to focus on French paintings (by Ingres, Gerome, Millet, Breton, Daubigny, etc.) plus works by a few other European artists. "Hoarfrost" Initially, Henry Walters tended to buy what his father bought, less successfully. He purchased three more works by Delacroix, for example, and "Marphise" (1852)—a fable depicting virtue triumphing over beauty and not normally on view—is a bit of a muddle. It looks as if the artist could not get the central image right, whereas "Sea of Galilee"—bought by William—is powerful and crisp. Henry's other Delacroix works remain in storage. Henry got better, though, especially once he envisioned the collection as a museum for the public. In a long gallery filled with landscapes, the acquisitions are fairly evenly matched. Both men seemed to admire storm scenes, mountains, clouded skies. An interesting tale surrounds Théodore Rousseau's "Hoarfrost" (1845), a cold, dark sunset picture, with one small figure traversing a field dotted with white, the only light provided by a break in the clouds. William first bid on it in 1880, unsuccessfully. Two years later, ready to spend more, he paid more for this painting than he had ever done before. Then he gave it another name, "Winter Solitude." Around 1900, Henry veered away from Barbizon school works and bought some by Impressionists—Monet, Sisley, Pissarro and Boudin. He bought a J.M.W. Turner—"Raby Castle, the Seat of the Earl of Darlington" (1817)—a rather traditional house painting, with fox hunt, distinguished by its dramatic sky. In 1909 and 1910, he also purchased an atypical—for him—brushy cafe scene by Manet and a racehorse scene by Degas. Comparatively small works, they were never hung by him, but they are on view here. Henry also came into his own buying decorative arts and jewelry at World's Fairs, particularly those in Paris in 1900 and St. Louis in 1904. A small gallery here is filled with these purchases. Among the most stunning are an ivory-and-gold orchid comb, the central vein of each leaf lined with diamonds, and a gold, glass and enamel pansy brooch—both by Rene Lalique. Pansy brooch Also of note is the re-creation of a gallery, hung salon-style from ceiling to floor, that William Walters had opened to about 200 invited artists, dignitaries and friends as early as 1884—an event heralded even in New York. Later, the collection was opened on certain days to the public, with proceeds going to the poor. So what's wrong with this show, other than the fact that the Raphael of the title, "Madonna of the Candelabra" (c. 1513)—the first Raphael to enter a U.S. collection—is downstairs in the permanent-collection galleries? Some 70% of the museum's collection was purchased by William or Henry, and selecting what to single out for this installation must have been difficult. Parts of their story had to be left out: There's no mention of their antiquities or Renaissance purchases, for example. Yet here and there the curators have added works that were not owned by the founders—and sometimes for the wrong, politically correct reason. This flaw starts in the very first gallery, with "River Scene" (1868) by Robert Seldon Duncanson, which was bought by the museum in 2012, and a bust of Dr. Dio Lewis (1868) by Edmonia Lewis, purchased in 2002. Both are fine works by African-American artists, but neither has anything to do with the founders' story. To my mind, this kind of attempt to be "inclusive" is not only condescending, but also a distortion of history. Rather than being intermixed, those works could easily have been shown in the final gallery, titled "Continuing the Story," which displays gifts and purchases made by the museum after Henry died in 1931.
6840	dbpedia	2	14	https://tfaoi.org/aa/10aa/10aa410.htm	en	Hudson River School			[ "https://tfaoi.org/cm/3cm/3cm513c.jpg", "https://tfaoi.org/cm/11cm/11cm86.jpg", "https://tfaoi.org/cm/9cm/9cm610.jpg", "https://tfaoi.org/cm/9cm/9cm612.jpg", "https://tfaoi.org/cm/10cm/10cm472.jpg", "https://tfaoi.org/cm/12cm/12cm313.jpg", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/3cm/3cm247.gif", "https://tfaoi.org/cm/2cm/2cm287.jpg", "https://tfaoi.org/cm/7cm/7cm6.gif", "https://tfaoi.org/cm/10cm/10cm369.jpg", "https://tfaoi.org/cm/10cm/10cm640.jpg", "https://tfaoi.org/cm/6cm/6cm121.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	(above: John Frederick Kensett (American, 1816-1872). Hudson River Scene, 1857. Oil on canvas, 32 x 48 inches. The Metropolitan Museum of Art, New York, Gift of H. D. Babcock, in memory of his father, S. D. Babcock, 1907. Public domain, via Wikimedia Commons) Introduction This section of the Traditional Fine Arts Organization (TFAO) catalogue Topics in American Art is devoted to the topic "Hudson River School." Articles and essays specific to this topic published in TFAO's Resource Library are listed at the beginning of the section. Clicking on titles takes readers directly to these articles and essays. The date at the end of each title is the Resource Library publication date. After articles and essays from Resource Library are links to valuable online resources found outside our website. Links may be to museums' articles about exhibits, plus much more topical information based on our online searches. Following online resources may be information about offline resources including museums, DVDs, and paper-printed books, journals and articles. We recommend that readers search within the TFAO website to find detailed information for any topic. Please see our pageHow to research topics not listed for more information. (above: Asher Brown Durand, circa 1869, photo by Abraham Bogardus. Public domain, via Wikimedia Commons) Resource Library articles and essays honoring the American experience through its art: Nelson Augustus Moore; essay by Todd and Marenda Stitzer (10/3/14) Nature and the American Vision: Masterpieces of the Hudson River School (3/18/11) Remember the Ladies: Women Artists of the Hudson River School (5/17/10) Petticoats and Palettes: Dress and Women Painters of the Hudson River School; essay by Olivia H. Good (5/17/10) River Views of the Hudson River School (10/19/09) Different Views in Hudson River School Painting; text by Judith Hansen O'Toole (4/14/08) The Hudson River School at the New-York Historical Society: Nature and the American Vision (12/1/06) American Scenery: Different Views in Hudson River School Painting (7/28/05) For Spacious Skies: Hudson River School Paintings from the Henry and Sharon Martin Collection (7/18/05) The Hudson River School at the New-York Historical Society: Nature and the American Vision (7/14/05) American Eden: Landscape Paintings of the Hudson River School from the Collection of the Wadsworth Atheneum Museum of Art (3/15/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art (3/13/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art; with article by Patricia McDonnell (9/7/04) A Wilder Image Bright: Hudson River School Paintings from the Manoogian Collection (1/29/04) Hudson River School: Masterworks from the Wadsworth Atheneum Museum of Art (8/26/03) Hudson River School Visions: The Landscapes of Sanford R. Gifford (8/8/03) Art and Nature: The Hudson River School (3/7/00) All that is Glorious: Paintings from the Hudson River School (2/24/00) Art and Nature: The Hudson River School (1/20/00) This Tranquil Land: Hudson River Paintings from the Hersen Collection (1/14/00) Art and Nature: The Hudson River School (10/14/99) Art & Nature: The Hudson River School Tours Nationally (8/4/99) Art and Nature: The Hudson River School, Paintings from the Albany Institute of History & Art (7/27/99) All that Is Glorious Around Us (Hudson River School Painters) (6/22/99) (above: Frederic Edwin Church, date unknown. Public domain, via Wikimedia Commons) Information from other websites American Paradise: The World of the Hudson River School, an exhibition catalog from Metropolitan Museum of Art, fully available online as PDF, 367 pages, introduction by John K. Howat. Accessed 5/18 American Scenery: Different Views in Hudson River School Painting, was held February 26 - May 13, 2012 at the Blanton Museum of Art. The article from the Blanton includes .pdf gallery guides for the exhibition. Accessed May, 2014. American Scenery: Different Views in Hudson River School Painting, an exhibit held 2/19/11 - 6/5/11 at the Reading Public Museum. Includes two online videos. "Connoisseurship and the Hudson River School," by Jennifer Kriger; from Hawthorne Fine Art. Accessed 5/18 The Grand Women Artists of the Hudson River School, by Judith H. Dobrzynski, Smithsonian.com, July 27, 2010; from Judith H. Dobrzynski. Accessed August, 2015. Home on the Hudson: Women and Men Painting Landscapes 1825-1875 from NewYorkHistoryBlog.org. Accessed 5/18 The Hudson Flows West is a 2013 exhibit at the Frye Art Museum which says: "Drawn from holdings of the Frye Art Museum and local private collections, The Hudson Flows West explores how the complicated notion of manifest destiny informed emblematic depictions of the 'New World,' from the pristine beauty of the Hudson River Valley to the earliest images of the western frontier. While these depictions of spectacular and awe-inspiring natural phenomena were often used as rationale for expansion and exploitation of the wealth of resources they detailed, their works reflect the artists' deep reverence for the land, one that coincided with stirrings of environmental consciousness and the national call for preservation." Accessed 3/17 Hudson River School from Wikipedia. Accessed August, 2015. The Hudson River School: Landscape Paintings from the Albany Institute is an ongoing exhibition at the Albany Institute -- including artwork labels and 3D tour -- which says: "For the first time, nearly all ninety paintings from this important collection is on view. These landscapes, painted by artists like Thomas Cole, Frederic Church, Jasper Cropsey, Asher Durand, and numerous others, capture America's scenic grandeur in all its magnificence from rugged coastal scenery to imposing mountains and rivers." Accessed 10/22 "The Hudson River School," excerpt of essay by Arthur Danto, "Encounters & Reflections: Art in the Historical Present" from artchive.com "The Hudson River School" by Kevin J. Avery, Department of American Paintings and Sculpture, The Metropolitan Museum of Art. Accessed August, 2015. Hudson River School Art Trail from hudsonriverschool.org. Accessed August, 2015. A Hudson River School Legacy: The Newman Bequest and Other Gifts is a 2017 exhibit at the New-York Historical Society which says: "Inspired by the natural beauty of the Hudson River Valley region and the emotional intensity of the scenes captured by painters of the first self-consciously "American" school of art, the Newmans acquired works by artists including Thomas Cole, Frederic Edwin Church, and Martin Johnson Heade." Accessed 4/17 Hudson River School Painters from askArt. Accessed August, 2015. Hudson River School Trilogy, an exhibit held August 17 - October 21, 2007 at the Frances Lehman Loeb Art Center. Includes news release. From Frances Lehman Loeb Art Center. Accessed August, 2015. Hudson River School Visions: The Landscapes of Sanford R. Gifford from the National Gallery of Art, Washington, DC. Accessed August, 2015. List of Hudson River School artists from Wikipedia. Accessed August, 2015. The Making of the Hudson River School is an extensive 14-part online exhibit hosted by the Albany (NY) Institute of History and Art. Accessed 10/19 "Nature and the American Vision: The Hudson River School" is an educators' essay from LACMA which says: "Nature and the American Vision: The Hudson River School is designed as a grand tour of the nineteenth-century American landscape, and the paintings on view reveal much about issues of national identity, westward expansion, mistreatment of the native population, and the beginnings of environmentalism in the United States." Accewssed 5/18 Nature and the American Vision: The Hudson River School is a 2016 exhibit at the Milwaukee Art Museum which says: " Nature and the American Vision: The Hudson River School transcends centuries to show visitors the powerful, breathtaking vistas that defined our heritage and shaped our nation. Accessed 8/18 The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society is an exhibition hosted by the New Britain Museum of American Art in New Britain, Connecticut from January 28, 2022 through May 22, 2022. The New Britain Museum of American Art described the exhibition as follows: "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... 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.".Accessed 9/23 The Poetry of Nature: Hudson River School Landscapes from the New-York Historical Society is a 2017 exhibit at the Allentown Art Museum which says: "The Poetry of Nature, comprised of some forty paintings by twenty-five artists ranging in date from 1818 to 1886, features a variety of important paintings conceived in the style of the Hudson River School. Bound by common purpose, these New York City-based painters often carved literal paths to remote and perilous sketching locations. Explore the confluence and tributaries of their artistic expression in this naturally wondrous exhibit." Accessed 11/17 Thomas Cole's Studio: Memory and Inspiration is a 2023 exhibit at the Albuquerque Museum which says: "The exhibition reassembles the paintings that were in Cole's studio when he died in 1848 and explores the significance of Cole's late work for art in America. Thomas Cole was the founder of the Hudson River School. This group of painters established an iconic style of American landscape painting. Accessed 10/23 Thomas Cole's Voyage of Life was a 2016 exhibit from Chrysler Museum of Art which says "Spanning four monumental canvases, The Voyage of Life takes viewers on a journey through Childhood, Youth, Manhood, and Old Age, presenting each stage as progress along a grand but treacherous river.... These masterpieces from the collection of the Munson-Williams-Proctor Arts Institute in Utica, N.Y.... embark on this historic tour together with many of the artist's seldom-exhibited original drawings and preliminary studies. The Chrysler's own Thomas Cole painting, The Angel Appearing to the Shepherds, the largest single canvas he ever created, joins this extraordinary tribute to one of the founding fathers of American art." See Thomas Cole from Resource Library essay and artfixdaily.com 10/20/14 article "Chrysler Museum Becomes "Thomas Cole Central" with Monumental Works from "Voyage of Life" and Chrysler Collection" Accessed 10/16 Transitional Nature: Hudson River School Paintings from the David and Laura Grey Collectionis a 2020 exhibit at the Frost (Patricia and Phillip) Art Museum, Florida International University https://frost.fiu.edu/ which says: "Transitional Nature draws from the collection of David and Laura Grey and includes masterpieces by Albert Bierstadt, Robert S. Duncanson, Asher B. Durand, and George Inness." Also see extensive Resource Library materials Accessed 10/20 Women Artists of the Hudson River School" by Jennifer C. Krieger from Spring 2010 issue of Antiques & Fine Art Magazine. Accessed 5/18 In October 2012 The Metropolitan Museum of Art launched MetPublications, an online resource that offers in-depth access to the Museum's print and online publications, covering art, art history, archaeology, conservation, and collecting. Titles relating to American representational art available for free viewing via.pdf download or online reading as of 2013 include: American Paradise: The World of the Hudson River School; Avery, Kevin J., Oswaldo Rodriguez Roque, John K. Howat, Doreen Bolger Burke, and Catherine Hoover Voorsanger (1987); Hudson River School Visions: The Landscapes of Sanford R. Gifford; Avery, Kevin J., and Franklin Kelly, with Claire A. Conway, and essays by Heidi Applegate and Eleanor James Harvey (2003). Accessed August, 2015. (above: Thomas Cole, The Voyage of Life Childhood, 1842. Picture from National Gallery of Art (Washington, D.C.) Source: Wikimedia Commons - public domain) Online videos April, 2023 screenshot via Google video search: Hudson River School - Sunday Arts [05:09], December 10, 2008, from WNET. Accessed August, 2015. The San Diego Museum of Art produced a video titled Asher Brown Durand, 1796-1886, Landscape-Composition: In the Catskills, available online through ArtBabble. According to ArtBabble, "Asher B. Durand is best known today for his enduring images of the American landscape, especially of the Hudson River Valley, the Catskills, and the Adirondack Mountains in New York. A founding member of the National Academy of Design, he studied engraving before devoting himself to landscape painting and was one of the primary painters of the Hudson River School. Durand's canvases reflect the great passion and unrelenting respect he possessed for the natural environment. In the detailed charcoal study for Landscape-Composition: In the Catskills, which he probably made on site, Durand included the small figural forms in the foreground; in this, the final painting of the subject, these tiny figures, juxtaposed with the immensity of the mountains and the breadth of the land before them, emphasize the awe-inspiring presence of the land itself." Accessed June, 2015. The San Diego Museum of Art also produced a video titled Thomas Moran, Below the Towers of Tower Falls, available online through ArtBabble. According to ArtBabble, "ArtStops are 15 minute, staff-led tours of one to three works on view. Museum curators and educators present these brief yet always enlightening and informative talks every Thursday and third Tuesday at noon. This week features: Thomas Moran, Below the Towers of Tower Falls, Yellowstone Park, 1909, with Lucy Eron, Art Educator" Accessed June, 2015. The WGBH/Boston Forum Network is an audio and video streaming web site dedicated to curating and serving live and on-demand lectures, including a number of videos on Art and Architecture. Partners include a number of museums, colleges, universities and other cultural organizations. See listings of related videos in this catalogue indexed by partner name. Boston Athenaeum partnered with the WGBH Forum Network for a series of lectures on American art by David Dearinger, who is Susan Morse Hilles Curator of Paintings and Sculpture at the Boston Athenaeum. An art historian and curator, he received his Ph.D. from the Graduate Center of the City University of New York, with a specialty in nineteenth-century American art. Titles include: Hudson River School of American Landscape Painting, (1 hour, 11 minutes) a general introduction to the famous Hudson River School of American landscape painting. [March 29, 2005]. Accessed August, 2015. DVD/VHS videos Hudson River and its Painters, The is a 57 minute 1988 video from the Metropolitan Museum of Art Series released by Home Vision Entertainment. The mid-nineteenth century saw the growth of America's first native school of landscape painters, artists inspired by the compelling beauty of the Hudson River Valley, who portrayed this and other romantic wilderness areas with an almost mystical reverence. This 57 minute video explores the life and work of the major artists of what came to be known as the Hudson River School -- Thomas Cole, Asher Durand, Frederic Church, Albert Bierstadt, John Kensett, Jasper Cropsey, Worthington Whittredge, Sanford Gifford, and George Inness. Although its members traveled widely, the growth and development of the school were centered around New York City, and its success reflected the ambitions of the youthful American nation. It presents more than 200 paintings, prints and photographs of the period and juxtaposes them with dramatic location photography of the Hudson River area. The Hudson Company in association with The Metropolitan Museum of Art. Hudson River and its Painters, The is available through the Sullivan Video Library at The Speed Art Museum which holds a sizable collection of art-related videos available to educators at no charge. TFAO does not maintain a lending library of videos or sell videos.Click here for information on how to borrow or purchase copies of VHS videos and DVDs listed in TFAO's Videos -DVD/VHS, an authoritative guide to videos in VHS and DVD format Above artist photos courtesy of Wikipedia. Return to Topics in American Representational Art See our Museums Explained to learn about the "inner workings" of art museums and the functions of staff members. In the exhibitions section find out how to get the most out of a museum visit. See definitions for a glossary of museum-related words used in articles. To help you plan visits to institutions exhibiting American art when traveling see Sources of Articles Indexed by State within the United States. Unless otherwise noted, all text and image materials relating to the above institutional source were provided by that source. Before reproducing or transmitting text or images please read Resource Library's user agreement. Our catalogues provide many more useful resources. American Representational Art has links to dozens of topics. Distinguished Artists is a national registry of historic artists. About Resource Library Resource Library is a free online publication of nonprofit Traditional Fine Arts Organization (TFAO). Since 1997, Resource Library and its predecessor Resource Library Magazine have cumulatively published online 1,300+ articles and essays written by hundreds of identified authors, thousands of other texts not attributable to named authors, plus 24,000+ images, all providing educational and informational content related to American representational art. Texts and related images are provided almost exclusively by nonprofit art museum, gallery and art center sources. All published materials provide educational and informational content to students, scholars, teachers and others. Most published materials relate to exhibitions. Materials may include whole exhibition gallery guides, brochures or catalogues or texts from them, perviously published magazine or journal articles, wall panels and object labels, audio tour scripts, play scripts, interviews, blogs, checklists and news releases, plus related images. What you won't find: User-tracking cookies are not installed on our website. Privacy of users is very important to us. You won't find annoying banners and pop-ups either. Our pages are loaded blazingly fast. Resource Library contains no advertising and is 100% non-commercial. . (left: JP Hazeltine, founding editor, Resource Library) Links to sources of information outside our website are provided only as referrals for your further consideration. Please use due diligence in judging the quality of information contained in these and all other websites. Information from linked sources may be inaccurate or out of date. We neither recommend or endorses these referenced organizations. Although we include links to other websites, we take no responsibility for the content or information contained on other sites, nor exert any editorial or other control over them. For more information on evaluating web pages see our General Resources section in Online Resources for Collectors and Students of Art History. *Tag for expired US copyright of object image: Search Resource Library
6840	dbpedia	3	58	https://www.britannica.com/biography/Thomas-Cole	en	Thomas Cole \| Biography, Paintings, Hudson River School, & Facts	https://cdn.britannica.c…le-Ohio-1840.jpg	https://cdn.britannica.c…le-Ohio-1840.jpg	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/92/12792-004-75F61BE0/Architect-Dream-oil-painting-Thomas-Cole-Ohio-1840.jpg", "https://cdn.britannica.com/95/10895-004-956FCEED/Shroon-Mountain-Thomas-Cole-oil-painting-Adirondacks-1838.jpg", "https://cdn.britannica.com/95/133495-004-716709BB/View-oil-canvas-Two-Lakes-Mountain-House-1844.jpg", "https://cdn.britannica.com/16/241116-004-8C571CF5/The-Course-of-Destruction-Thomas-Cole-New-York-Historical-Society-New-York.jpg", "https://cdn.britannica.com/96/136196-004-CC33D49F/Pic-Nic-oil-canvas-Thomas-Cole-New-York-1846.jpg", "https://cdn.britannica.com/74/129374-131-833AE3CF/Chalk.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/85/151885-131-F94726A4/Close-up-man-palette-color-mixing-paint-painting.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/13/229013-131-CF011E83/Tate-Modern-Switch-House-London-England.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/32/91732-131-E8BF5F79/The-Birth-of-Venus-canvas-Sandro-Botticelli.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/67/215467-131-5A200489/Aerial-view-dome-Cathedral-Santa-Maria-del-Fiore-Florence-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/68/182368-131-18162C94/vandalized-art-Rokeby-Venus-Diego-Velazquez-meat-cleaver-Mary-Richardson.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/179035-131-9646BA4D/Oil-paints-consistency-paste-variety-colors-brushes.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/57/181457-131-E3E73B89/Members-artwork-view-art-gallery-Damien-Hirst-April-2-2012.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/74/234574-131-61BF2B71/sculpture-woman-before-and-after-restoration-office-building-Palencia-Spain.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/13/195913-131-E6C2B632/World-map-Oceans-Continents.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/36/162636-131-E4AA93A0/Colosseum-Rome-Italy.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/24/129624-131-37C4C022/flags-soccer-balls-Futbol-football-arts-blog-2009.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/16/175316-131-39FF106B/Big-Sur-Waves-Beach-Pacific-Ocean-Point.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/70/191970-131-A85628DA/Color-wheel-light-color-spectrum.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/51/190751-131-B431C216/soccer-ball-goal.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/92/12792-050-E72EA87E/Architect-Dream-oil-painting-Thomas-Cole-Ohio-1840.jpg?w=300", "https://cdn.britannica.com/95/10895-050-016EB986/Shroon-Mountain-Thomas-Cole-oil-painting-Adirondacks-1838.jpg?w=300", "https://cdn.britannica.com/95/133495-050-407534C1/View-oil-canvas-Two-Lakes-Mountain-House-1844.jpg?w=300", "https://cdn.britannica.com/32/91732-131-E8BF5F79/The-Birth-of-Venus-canvas-Sandro-Botticelli.jpg", "https://cdn.britannica.com/16/241116-050-411789B0/The-Course-of-Destruction-Thomas-Cole-New-York-Historical-Society-New-York.jpg?w=300", "https://cdn.britannica.com/96/136196-050-B23E3C59/Pic-Nic-oil-canvas-Thomas-Cole-New-York-1846.jpg?w=300" ]	[]	[]	[ "Thomas Cole", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1998-07-20T00:00:00+00:00	Thomas Cole was an American Romantic landscape painter who was a founder of the Hudson River school. Cole’s family immigrated first to Philadelphia and then settled in Steubenville, Ohio. He was trained by an itinerant portrait painter named Stein and then spent two years at the Pennsylvania	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Thomas-Cole	Thomas Cole (born February 1, 1801, Bolton-le-Moors, Lancashire, England—died February 11, 1848, Catskill, New York, U.S.) was an American Romantic landscape painter who was a founder of the Hudson River school. Cole’s family immigrated first to Philadelphia and then settled in Steubenville, Ohio. He was trained by an itinerant portrait painter named Stein and then spent two years at the Pennsylvania Academy of the Fine Arts. In 1825 some of Cole’s landscapes in a New York shop window attracted the attention of Colonel John Trumbull and the painter Asher B. Durand. They bought his works and found him patrons, assuring his future success. Britannica Quiz Who Painted the Most Expensive Paintings in the World? In 1826 Cole made his home in the village of Catskill, New York, on the western bank of the Hudson River. From there he frequently journeyed through the Northeast, primarily on foot, making pencil studies of the landscape. He used these sketches to compose paintings in his studio during the winter. One of Cole’s most effective landscape paintings, The Ox-Bow (1846), was the result of pencil studies that he made in Massachusetts. Cole’s scenes of the Hudson River valley, reverently recorded, echo the loneliness and mystery of the North American forests. Cole could paint direct and factual landscapes recorded in minute detail, but he was also capable of producing grandiose and dramatic imaginary vistas using bold effects of light and chiaroscuro. When the human figure appears in his works, it is always subordinate to the majesty of the surrounding landscape. Cole spent the years 1829–32 and 1841–42 abroad, mainly in Italy. He lived in Florence with the American sculptor Horatio Greenough. When Cole returned to the United States, he painted five huge canvases—including The Course of Empire: Destruction—for a series titled The Course of Empire (1836). These paintings are allegories on the progress of humankind based on the count de Volney’s Ruines; ou, méditations sur les révolutions des empires (1791). A second series, called The Voyage of Life (begun 1839), depicts a symbolic journey from infancy to old age in four scenes. Shortly before he died in 1848, Cole began still another series, The Cross of the World, which was of a religious nature.
6840	dbpedia	2	80	https://www.lfadams.com/category/news/page/3/	en	Lauren Frances Adams	https://www.lfadams.com/…avicon-32x32.png	https://www.lfadams.com/…avicon-32x32.png	[ "https://www.lfadams.com/wp-content/uploads/2016/02/IMG_0683a-web.jpg", "https://www.lfadams.com/wp-content/uploads/2015/11/laurenfrancesadams-e1446458991646.jpg", "https://www.lfadams.com/wp-content/uploads/2015/11/joanmitchellcenter.jpg", "https://www.lfadams.com/wp-content/uploads/2015/08/montello-web.jpg", "https://www.lfadams.com/wp-content/uploads/2015/08/101usesforabrick-web.jpg", "https://www.lfadams.com/wp-content/uploads/2015/06/HollywoodintheAttic-website.jpg", "https://www.lfadams.com/wp-content/uploads/2015/06/2015-shell2-combined-anachronism-web.jpg", "https://www.lfadams.com/wp-content/uploads/2015/06/262_Puffin-Color-Logo-2.jpg", "https://www.lfadams.com/wp-content/uploads/2015/04/nymans-web-news.jpg", "https://www.lfadams.com/wp-content/uploads/2015/02/Lauren-F-Adams-GrannySmithWesson-2003-web.jpg" ]	[]	[]	[ "" ]	null	[ "Lauren Adams" ]	2016-01-18T19:36:50+00:00		en	https://www.lfadams.com/…e-touch-icon.png	Lauren Frances Adams	https://www.lfadams.com/category/news/page/3/	Ortega y Gasset Projects opens the 2016 season with two concurrent exhibitions. A joint reception will be held on Saturday, January 23, 6-9pm. At a special afternoon event on February 6, Jennifer Coates, David Humphrey, and Glenn Goldberg will play music in the gallery. On view in the main gallery, Lauren Frances Adams and Jennifer Coates co-curate The Swerve, featuring works by Julia Bland, Caroline Wells Chandler, Glenn Goldberg, Bill Komoski, Joyce Kozloff, Bruce Pearson, Sarah Peters, James Siena, and Barbara Takenaga. The exhibition runs until Sunday, February 21. The title for the exhibition is based upon a book of the same name by Stephen Greenblatt, which touches on ancient atomistic theory, wherein atoms normally falling straight through a void are sometimes subject to a clinamen — a slight, unpredictable change. It is in this interruption of regularity where the action lies. According to Lucretius, if atoms were not in the habit of swerving, “nature would never have produced anything.” Taking this as a point of departure, The Swerve presents contemporary paintings and sculptures that explore the haptic and conceptual approaches to pattern: how pattern and its rupture are employed in service of meaning. Joyce Kozloff appropriates the iconic Islamic star to create a richly colored all-over pattern that merges non-Western motif with an American quilting logic, revealing the political in the decorative. Julia Bland utilizes an eccentric, loose weaving technique to build emblematic, symmetrical imagery that seem to contain hidden meanings, while Caroline Wells Chandler uses crochet to generate soft sculptures: feminist homunculi that merge cartoons with craft. Sarah Peters’ ancient Assyrian hair patterns become almost architectural as they frame and support an open-mouthed female: many periods of art history coalesce into a single head. Barbara Takenaga’s woozy forms radiate from a glowing center, as her carefully tended surfaces create cosmic vortexes. Bill Komoski’s lattices and sculpted holes on canvas leak toxic sludge in tongue-like shapes, as he channels the bodily via the urban industrial. Bruce Pearson’s white-on-white biomorphic carvings also make use of relief, embedding text within them: once your eyes adjust the code is broken. In James Siena’s drawing, a figure emerges from a density of tiny marks, she seems to be trapped within the edges of the paper. Glenn Goldberg makes hallucinatory use of dots to create an atmospheric world from which two tiny birds emerge. The artists all share a propensity to tease out meaning from complex visual matrices. Images range from figuration to abstraction, but the recurrent theme is an organic wavering between recognizable form and repetition. On view in the gallery vestibule, Adams and Coates curate Star Upon Star, a site-specific installation by Kirsten Hassenfeld. The piece will be on view throughout the Ortega y Gasset spring exhibition program. Star Upon Star is constructed from recycled giftwrap, using a system both geometrically precise and intentionally off-kilter. Hassenfeld forces clashing patterns and the associations they evoke to coexist and to coalesce into a sculptural whole. Educated as a printmaker, Kirsten Hassenfeld makes sculpture from paper and found objects. She has been honored with numerous awards and residencies, most recently the St. Gaudens Memorial Fellowship in 2014. Her work has been featured in Art in America, the New York Times Magazine and Interview Magazine, among others. She lives and works in Brooklyn and the Catskills. Lauren Frances Adams (Baltimore, Maryland) mines the histories of power, labor, and material culture to make surprising connections that resonate with current sociopolitical issues. Solo exhibitions include Back Lane West, Cornwall, UK; Contemporary Art Museum St. Louis; EXPO Chicago; and Conner Contemporary, Washington, D.C. Group exhibitions include: The Walters Art Museum, Baltimore; Contemporary Applied Arts, London; CUE Foundation, NY; Mattress Factory and the Andy Warhol Museum, Pittsburgh. Residencies include Cité Internationale des Arts in Paris, Skowhegan School of Painting and Sculpture, and a Joan Mitchell Foundation MFA Grant. Jennifer Coates is an artist, writer and musician living in NYC. Her ongoing series of paintings – “Total Fat” – explore the sacred architecture and spiritual radiance embedded in processed foods. She recently had a two person show of collaborative work with David Humphrey at Arts & Leisure Gallery and a two person show with Tom Burckhardt at Valentine Gallery, both in NYC. She currently has a painting, PB&J, on view at the Museum at the University of Kentucky in Lexington. She has written art reviews for Time Out New York and Art in America and can be seen playing violin and singing in various bands in the region. Ortega y Gasset Projects is a gallery curated projects space in the Gowanus neighborhood of Brooklyn. Comprised of artists currently living in Connecticut, Illinois, Maryland, Massachusetts, New York, Ohio, and Tennessee, OyG operates a cross-country collective and an incubator for dialogue and artistic exchange. For more information contact Lauren Frances Adams at laurenfrancesadams@gmail.com Open Saturdays & Sundays 1-6pm and by appointment Ortega y Gasset Projects The Old American Can Factory 363 Third Avenue, Brooklyn, NY 11215 ]]> a handle, a stem, a hook, a ring, a loop Open Source Gallery, Brooklyn, NY Thursday, June 25 and Friday, June 26, 3-8pm Saturday, June 27, 1-6pm Part of Whitney Lynn’s presentation of Rummage, a series of performative installations at Open Source Gallery in the month of June. Lauren Frances Adams and Christine Wong Yap share interests in how objects and possessions are imbued with meaning. a handle, a stem, a hook, a ring, a loop is a collaborative installation of imaginative objects and paintings that explore desire, loss, and non-attachment. Garages often serve as surplus storage, but the lack of excess space in NYC inspired Wong Yap to make papier-mâché piñatas of objects that she would like to own but cannot store, such as cooking appliances and woodworking tools. The exhibition culminates on Saturday with a ‘non-attachment piñata party,’ where the confetti-filled piñatas will be available for the public to hit and destroy in a gesture of letting go. Adams invites strangers to submit a story of their personal desires and burdens to prompt a painting, resulting in a display of the finished artworks that will be exchanged with their new owners after the close of the show. Inspired by the exchange found at garage sales and on internet websites like Craigslist, Adams performs a ‘service’ to solicit the hidden appreciations and antagonisms between strangers and their possessions. To participate, visit this online form: https://goo.gl/forms/a2BJdQKhpS. Lauren Frances Adams mines the histories of power, labor, and material culture to make surprising connections that resonate with current sociopolitical issues. She is a resident of Baltimore, Maryland. Christine Wong Yap makes sculptures, installations, participatory projects, and drawings to spark and sustain attention to emotional experiences. A long-time resident of Oakland, California, she relocated to Queens in 2010. Lauren and Christine are part of Ortega y Gasset Projects, an artist collective that aims to mount exhibitions that provoke interpretation and dialogue, engaging with a wide forum to disseminate aesthetic experience. OyG works collaboratively over geographical distances to extend beyond local communities and forge larger networks of cultural dialogue.]]> The Nothing That is: a drawing show in five parts June 5 – September 7, 2015 Contemporary Art Museum Raleigh Warehouse District 409 West Martin Street Raleigh, NC 27603 CAM Raleigh is pleased to present The Nothing That Is: a drawing show in five parts curated by Bill Thelen. This extraordinary exhibition includes more then 85 local, national and international artists all exploring contemporary approaches to drawing, mark making and gesture. The Nothing That Is will be presented in five parts throughout the museum and also includes drawing projects in the community. Chapter 1 DDDRRRAAAWWWIIINNNGGG in the Main Gallery curated by Bill Thelen and Jason Polan features a “do it yourself” approach to drawing with an emphasis on emerging artists, illustration, zines, economy, and building community through drawing. These artists’ works all utilize drawing as a prime strategy in their art-making process. Artists will be exhibiting collaborative and singular works embedded with their own unique drawing practices including Tedd Anderson, Joana Avillez, Amanda Barr, Chris Bogia, Elijah Burgher, Richard C., Robin Cameron, Ryan Travis Christian, Casey Cook, Daniel Davidson, Louise Despont, Mollie Earls, James Esber, Joy Feasley, Bill Fick, Nancy Ford, Sarah Gamble, Nathan Gelgud, Lincoln Hancock, EJ Hauser, Harrison Haynes, Kathleen Henderson, Jordin Islip, Rich Jacobs, Spencer Jacobs, George Jenne, Ken Kagami, Tricia Keightley, Thad Kellstadt, Victor Kerlow, Jeff Ladouceur, Matt Leines, Lump Lipshitz, Ryan Martin, Stefan Marx, Rich McIsaac, Hazel Meehan, Allyson Mellberg, Tristin Miller, Lee Misenheimer, Lavar Munroe, Kymia Nawabi, Tucker Nichols, Paul Nudd, Jason Osborne, Jason Polan, Tal R, Fernando Renes, Josh Rickards, Steve Reinke, Louis Schmidt, Christopher Schulz, Stewart Sineath, Damian Stamer, Paul Swenbeck, Megan Sullivan, Jeremy Taylor, Christopher Thomas, Derek Toomes, Michael Worful, James Ulmer, Todd Webb, Neil Whitacre, Eric White, Laura Sharp Wilson and Tyler Wolf. Chapter 2 Conceptual Approaches in the Independent Weekly Gallery focuses on artists employing contemporary drawing strategies with nods to conceptualism, feminism, queer theory, formalism, video, performance, photography and art history featuring: Lauren Adams, Becca Albee, Leah Bailis, Lucas Blalock, Kellie Bornhoft, Blake Fall-Conroy, Joy Drury Cox, Steven Evans, Ray Johnson/Richard C, Alex Jovanovich, Gary Kachadourian, Pedro Lasch, Stan Shellabarger, elin o’Hara slavick, Deb Sokolow, Stacy Lynn Waddell and Amy White. Chapter 3 Movement in the Independent Weekly Gallery will show video that reflects the principles of drawing. Videos will all be based on drawing and range from animation to performance. There will be several special screenings throughout the summer. Featured artists include David Colagiovanni, Jerstin Crosby and Fernando Renes. Chapter 4 Locals Only will feature capsule solo exhibitions by North Carolina artists. These “locals only” exhibitions will rotate throughout the exhibition space and feature regional artists that utilize drawing as a prime strategy in their art-making process including Carol Cole (June), Barbara Campbell Thomas (June), David Eichenberger (July), Chris Musina (July) and Tedd Anderson (August). Chapter 5 Open Source explores social engagement by featuring projects that utilize collaborative art strategies that extend beyond the museum’s walls. Through community outreach and social practice, there will be opportunities for the community to be involved in the exhibition. Such projects as Jason Polan’s ongoing “Taco Bell Drawing Club” will unite artists of all abilities to draw in a non-hierarchical, non-judgmental setting. Other projects will include the CAM Young Artists Advisory Panel, The Drawn, Elsewhere, Pedro Lasch, Vegan Snake Club and Lee Walton. PRESS RELEASE Press: Frieze Magazine, “The Nothing that Is,” by Mimi Luse, Issue 174 November/December 2015]]>
6840	dbpedia	3	23	https://en.m.wikipedia.o…m_-_DSC00934.JPG	en	File:View near the Village of Catskill by Thomas Cole, 1827, oil on wood panel	https://upload.wikimedia…m_-_DSC00934.JPG	https://upload.wikimedia…m_-_DSC00934.JPG	[ "https://en.m.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG/800px-View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Wikidata-Reasonator_small_logo.svg/5px-Wikidata-Reasonator_small_logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/15px-Wikiquote-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Thomascole2.jpg/120px-Thomascole2.jpg", "https://upload.wikimedia.org/wikipedia/commons/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/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/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/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/4/4a/View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG/250px-View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG", "https://upload.wikimedia.org/wikipedia/commons/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/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/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/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/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/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/7/73/Blue_pencil.svg/15px-Blue_pencil.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/cc/M._H._de_Young_Memorial_Museum.jpg/187px-M._H._de_Young_Memorial_Museum.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b0/Openstreetmap_logo.svg/20px-Openstreetmap_logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/aa/Google_Maps_icon_%282020%29.svg/14px-Google_Maps_icon_%282020%29.svg.png", "https://upload.wikimedia.org/wikipedia/commons/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/f/ff/Wikidata-logo.svg/20px-Wikidata-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/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/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/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/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/a/a3/Cc.logo.circle.svg/28px-Cc.logo.circle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/52/Cc-zero.svg/28px-Cc-zero.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4a/View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG/120px-View_near_the_Village_of_Catskill_by_Thomas_Cole%2C_1827%2C_oil_on_wood_panel_-_De_Young_Museum_-_DSC00934.JPG", "https://login.m.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&mobile=1", "https://en.m.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg" ]	[]	[]	[ "" ]	null	[]	2013-11-05T16:22:22		en	/static/apple-touch/wikipedia.png		https://commons.wikimedi…m_-_DSC00934.JPG	Description English: Exhibit in the De Young Museum, San Francisco, California, USA. This artwork is in the public domain because the artist died more than 70 years ago. Photography was permitted in the museum without restriction. The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. http://creativecommons.org/publicdomain/zero/1.0/deed.enCC0Creative Commons Zero, Public Domain Dedicationfalsefalse
6840	dbpedia	0	21	https://www.independent.com/2010/01/21/sbma-mounts-delacroix-monet/	en	SBMA Mounts Delacroix to Monet	https://www.independent.…20/PL1_37.11.jpg	https://www.independent.…20/PL1_37.11.jpg	[ "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	https://www.independent.….png?fit=32%2C32	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	1	82	https://www.learningwoodstockartcolony.com/post/in-care-of-the-historical-society-of-woodstock-selected-survey-of-woodstock-art-colony-wks-on-paper	en	In Care of the Historical Society of Woodstock: Selected Survey of Woodstock Art Colony Wks on Paper	https://static.wixstatic…a2cfdf52~mv2.png	https://static.wixstatic…a2cfdf52~mv2.png	[ "https://static.wixstatic.com/media/48eaf2_0a3d4fdffa3f44d0b8da62e2a2cfdf52~mv2.png/v1/fill/w_73,h_64,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_0a3d4fdffa3f44d0b8da62e2a2cfdf52~mv2.png", "https://static.wixstatic.com/media/48eaf2_a5bcda7b9e894794ac3e478c30a99f58~mv2.png/v1/fill/w_114,h_154,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_a5bcda7b9e894794ac3e478c30a99f58~mv2.png", "https://static.wixstatic.com/media/48eaf2_ed02f5464b8b4a01b03c7f2085aa545f~mv2.png/v1/fill/w_108,h_138,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_ed02f5464b8b4a01b03c7f2085aa545f~mv2.png", "https://static.wixstatic.com/media/48eaf2_c1938f3363c1400297cb294383816c50~mv2.jpg/v1/fill/w_111,h_141,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_c1938f3363c1400297cb294383816c50~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_28622754e9d544a0b0f39fde30482a26~mv2.png/v1/fill/w_54,h_71,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_28622754e9d544a0b0f39fde30482a26~mv2.png", "https://static.wixstatic.com/media/48eaf2_683ba57264184217b7d8a5b0fec6894f~mv2.jpg/v1/fill/w_88,h_104,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_683ba57264184217b7d8a5b0fec6894f~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_562213144f0c4c3291f903e882210ac0~mv2.jpg/v1/fill/w_99,h_138,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_562213144f0c4c3291f903e882210ac0~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_28241446b4424e5c8103d360c557a7f1~mv2.png/v1/fill/w_118,h_152,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_28241446b4424e5c8103d360c557a7f1~mv2.png", "https://static.wixstatic.com/media/48eaf2_f61eef435dff4dc19c47916c58f574fe~mv2.jpg/v1/fill/w_99,h_111,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_f61eef435dff4dc19c47916c58f574fe~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_f3d7bd96be794ddda8f6e420935ba99e~mv2.png/v1/fill/w_58,h_85,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_f3d7bd96be794ddda8f6e420935ba99e~mv2.png", "https://static.wixstatic.com/media/48eaf2_070d80f4bcfa446e9056d8a40bac2bb6~mv2.png/v1/fill/w_53,h_66,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_070d80f4bcfa446e9056d8a40bac2bb6~mv2.png", "https://static.wixstatic.com/media/48eaf2_526c654ccaec4eb195c4836ec6165c4a~mv2.png/v1/fill/w_87,h_113,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_526c654ccaec4eb195c4836ec6165c4a~mv2.png", "https://static.wixstatic.com/media/48eaf2_70a1a5cb5cf244d6a7d1198edbc3ba68~mv2.jpg/v1/fill/w_82,h_143,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_70a1a5cb5cf244d6a7d1198edbc3ba68~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_efbf14af65164d788d89ca7f6412a5c4~mv2.jpg/v1/fill/w_92,h_104,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_efbf14af65164d788d89ca7f6412a5c4~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_85378c44ec62459d918f2a685073feaa~mv2.jpg/v1/fill/w_112,h_158,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_85378c44ec62459d918f2a685073feaa~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_0142453f90bc458bbd4dde9076c86955~mv2.png/v1/fill/w_106,h_138,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_0142453f90bc458bbd4dde9076c86955~mv2.png", "https://static.wixstatic.com/media/48eaf2_249dcbea546a463892945745fd2982a4~mv2.png/v1/fill/w_50,h_58,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_249dcbea546a463892945745fd2982a4~mv2.png", "https://static.wixstatic.com/media/48eaf2_d26327186d3944f7a95310cb8d239b83~mv2.png/v1/fill/w_49,h_35,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_d26327186d3944f7a95310cb8d239b83~mv2.png", "https://static.wixstatic.com/media/48eaf2_763905401e484ee19768233a3bbfb4e1~mv2.png/v1/fill/w_75,h_55,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_763905401e484ee19768233a3bbfb4e1~mv2.png", "https://static.wixstatic.com/media/48eaf2_85f3e01ec37247cc9f4e8f79a0b8a28f~mv2.png/v1/fill/w_78,h_51,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_85f3e01ec37247cc9f4e8f79a0b8a28f~mv2.png", "https://static.wixstatic.com/media/48eaf2_a2c32c97993b4ca4a0253404a215d7c3~mv2.jpg/v1/fill/w_122,h_92,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_a2c32c97993b4ca4a0253404a215d7c3~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_0ec681376746439dba9671e5a031a40d~mv2.png/v1/fill/w_63,h_76,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_0ec681376746439dba9671e5a031a40d~mv2.png", "https://static.wixstatic.com/media/48eaf2_7d32715a1a144586b0419689d1576b64~mv2.png/v1/fill/w_48,h_34,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_7d32715a1a144586b0419689d1576b64~mv2.png", "https://static.wixstatic.com/media/48eaf2_12d66e0027364bb0b4caf856dbb02cfe~mv2.jpg/v1/fill/w_104,h_89,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_12d66e0027364bb0b4caf856dbb02cfe~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_5a2bed12055b4f90894ff8c0ededc849~mv2.png/v1/fill/w_74,h_99,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_5a2bed12055b4f90894ff8c0ededc849~mv2.png", "https://static.wixstatic.com/media/48eaf2_329ae5c2160c402494c67ed85b55eef2~mv2.jpg/v1/fill/w_144,h_112,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_329ae5c2160c402494c67ed85b55eef2~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_a3a84e09310a4fdf825f11524c015c18~mv2.jpg/v1/fill/w_98,h_124,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_a3a84e09310a4fdf825f11524c015c18~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_b3be770fe92d4d81b629ffbf85f1d8cd~mv2.jpg/v1/fill/w_158,h_107,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_b3be770fe92d4d81b629ffbf85f1d8cd~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_3bd946e0a3ce462981eb72f579f5fcef~mv2.jpg/v1/fill/w_151,h_88,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_3bd946e0a3ce462981eb72f579f5fcef~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_f8101fbb27584376a1071916d9c8d330~mv2.png/v1/fill/w_46,h_36,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_f8101fbb27584376a1071916d9c8d330~mv2.png", "https://static.wixstatic.com/media/48eaf2_7a02611e55564d5ea5222d35e1cdb64a~mv2.png/v1/fill/w_58,h_71,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_7a02611e55564d5ea5222d35e1cdb64a~mv2.png", "https://static.wixstatic.com/media/48eaf2_d015425510fb489cbd9046aa859f4230~mv2.png/v1/fill/w_73,h_84,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_d015425510fb489cbd9046aa859f4230~mv2.png", "https://static.wixstatic.com/media/48eaf2_190c5ab4f4e34be7848cacbb90a5f383~mv2.png/v1/fill/w_75,h_48,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_190c5ab4f4e34be7848cacbb90a5f383~mv2.png", "https://static.wixstatic.com/media/48eaf2_0a3d4fdffa3f44d0b8da62e2a2cfdf52~mv2.png/v1/fill/w_73,h_64,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_0a3d4fdffa3f44d0b8da62e2a2cfdf52~mv2.png", "https://static.wixstatic.com/media/48eaf2_fdbfafb3e7904b20af3b71469a38897c~mv2.jpg/v1/fill/w_98,h_116,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_fdbfafb3e7904b20af3b71469a38897c~mv2.jpg", "https://static.wixstatic.com/media/48eaf2_6910efcace1d4e5b8d8b2d1d265426b3~mv2.png/v1/fill/w_58,h_51,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_6910efcace1d4e5b8d8b2d1d265426b3~mv2.png", "https://static.wixstatic.com/media/48eaf2_6bffc47ec19449708e983202cdaae147~mv2.png/v1/fill/w_111,h_149,al_c,q_85,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_6bffc47ec19449708e983202cdaae147~mv2.png", "https://static.wixstatic.com/media/48eaf2_44a167eabfb0460dac06ff088b08a9cc~mv2.jpg/v1/fill/w_111,h_142,al_c,q_80,usm_0.66_1.00_0.01,blur_2,enc_auto/48eaf2_44a167eabfb0460dac06ff088b08a9cc~mv2.jpg" ]	[]	[]	[ "" ]	null	[ "Bruce Weber" ]	2023-06-02T12:10:51.103000+00:00	Bruce Weber with Maria YeyeI hope you'll be able to attend the opening at the Historical Society of Woodstock on Saturday June 10th (from 1 to 5 p.m.) of the exhibition In Care of the Historical Society of Woodstock: A Selected Survey of Woodstock Art Colony Works on Paper, which I curated with Maria Yeye's assistance. I'll speak about the exhibition at 3:30 p.m., focusing especially on the four works the Historical Society is hoping to conserve with community support. In addition, I'll be giv	en	https://static.parastorage.com/client/pfavico.ico	Woodstock Art Colony	https://www.learningwoodstockartcolony.com/post/in-care-of-the-historical-society-of-woodstock-selected-survey-of-woodstock-art-colony-wks-on-paper	Bruce Weber with Maria Yeye I hope you'll be able to attend the opening at the Historical Society of Woodstock on Saturday June 10th (from 1 to 5 p.m.) of the exhibition In Care of the Historical Society of Woodstock: A Selected Survey of Woodstock Art Colony Works on Paper, which I curated with Maria Yeye's assistance. I'll speak about the exhibition at 3:30 p.m., focusing especially on the four works the Historical Society is hoping to conserve with community support. In addition, I'll be giving a gallery talk on the exhibition on Saturday July 8th at 3 p.m. The exhibition closes on July 23rd. The Historical Society of Woodstock is located at 20 Comeau Drive, and is open on weekends from Spring through Fall from 1 to 5 p.m. Admission is free. In addition to the current show, you'll have the opportunity to see the newly opened tool shed and permanent historical exhibition. I'd like to thank Deborah Heppner for her valuable help in putting together the exhibition of works on paper, JoAnn Margolis and Letitia Smith for their collaborative work on the grant application, and John Kleinhans for providing needed photography. William H. Arlt (1868-1952) Flowers, 1949 Gouache on paper 19 x 10" Historical Sociaty of Woodstock 2007.27.269 The current exhibition at the Historical Society of Woodstock highlights the institution's significant collection of works on paper, the recently completed conservation by Sarah Dove of William H. Arlt’s Flowers, and the conservation needs of pictures by Marianne Appel, Judson Smith, and Harry Gottlieb. As a result of the generous support of the NYSCA/GHNN Conservation Treatment Grant Program, administered by the Greater Hudson Heritage Foundation over the past two years, conservation has been completed on Arlt’s Flowers, and the paintings Hervey White in His Studio, by Arnold Blanch, and Landscape, by Edmund B. Rolfe. These efforts are part of a long-range plan to care for works in the fine art collections that are in special need of conservation, which will allow the greater public to become more aware of the strength of the institution’s fine art collection, and of the aesthetic achievements of the historic Woodstock art colony. It is our hope that with the support of people in the community we will soon undertake the care of the works by Appel, Smith, and Gottlieb. Information about the care and cost required of these four works is noted in the label text that appears below. From the time of the Historical Society of Woodstock‘s inception in 1929, the organization has been devoted to recording, documenting, and furthering interest in the history of the Woodstock art colony. In late September of that year a group of 20 individuals gathered at the home of Konrad Cramer, including fellow artists Marion Bullard, Alice Wardwell, Eva Watson-Schütze, Zulma Steele, Henry Lee McFee, Florence Ballin Cramer, Orville H. Peets and H. L. Jenkinson. The Historical Society of Woodstock's fine art collection currently numbers about 800 works, and was largely assembled in the 1980s by Sam Klein, who served as director of acquisitions, with help from the organization’s president Matthew Leaycraft. This exhibition highlights three areas of the fine art collection: portraits of leading local individuals, among them artists and musicians; townscapes, with views of noteworthy houses, streets, land, places of business and other local or area architecture, and village scenes, including public events and activities, and nearby farms; and the collection’s small but exquisite collection of still lifes. Among the works on view are self-portraits by Kurt Sluizer, Manuel Bromberg, Franklin Alexander, Leslie Bender, Robert Angeloch, Sally Michel Avery, March Avery and Daniel Gelfand, as well as likenesses by Judson Smith of artist and photographer Sam Wylie and illustrator Miska Petersham, and Aline Fruhauf’s caricature of the author J. P. McEvoy. Among the outdoor scenes are works by Clarence Bolton, Reeves Brace, Wilna Hervey, Doris Lee and Mary James. Still lifes include pictures by Ernest Fiene, Harry Gottlieb, Georgina Klitgaard, Mary D. Smith, and Milton Glaser. PORTRAITS Franklin Alexander (1929-2005) Self Portrait, c. 1990 Pencil on paper 27 x 21”Historical Society of Woodstock, 2007.027.267 Painter, philosopher, writer and teacher Franklin Alexander was a native of New York City, and resided in Woodstock from 1955 to his death. After studying art in New York and working in advertising, he attended the State Art Institute in Florence in 1950 under the GI Bill, and began to devote his full attention to painting. Following a brief period as an abstract painter he began to specialize in figurative work and drawing in the early 1960s. Alexander was also active as a portraitist. This striking drawing served as a study for a self-portrait in acrylic of about 1990 (Estate of Franklin Alexander). Alexander taught widely, including at the Woodstock School of Art. In his classes in portrait painting he encouraged students to devote special attention to the analysis of facial expression and characterization, and shared his broad and thorough knowledge of classical methods and techniques. BW Robert Angeloch (1922-2011) Self Portrait, 1950 Lithograph on paper 15 x 11” Historical Society of Woodstock, 2007.027.024 Robert Angeloch attended the Art Students League in New York from 1946-1951, where he first began studying painting with Yasuo Kuniyoshi, and also attended Martin Lewis’ graphics class in etching and lithography. In 1948 he was the monitor in Kuniyoshi’s class at the league’s summer school in Woodstock. Angeloch took up permanent residence in Woodstock in 1953. He served as the principal founder of the Woodstock School of Art, which in 1981 moved to the league’s former site on Route 212 outside the village. In addition to having an active career as a painter, printmaker, and teacher, from 1975 to 2000 Angeloch ran the Paradox Gallery on lower Mill Hill Road, which was devoted to showing both the work of contemporary artists and artists of the historic art colony. It was the first gallery in Woodstock of its kind, preceding that of the James Cox Gallery and Fletcher Gallery. BW March Avery (B. 1932) Self Portrait, 1988 Felt pen, black ink and wash on paper 13 ½ x 10 ½” Historical Society of Woodstock, 2007.027.102 Daughter of painters Milton Avery and Sally Michel Avery, March Avery began painting as a child – although as she tells it, "I think I was painting in utero.” She began coming to the area for summers in the early 1950s when her parents resided in Byrdclifffe. BW Sally Michel Avery (1902-2003) Self Portrait, 1988 Pen and ink on paper 10 ¼ x 8 ¼” Historical Society of Woodstock, 2007.027.084 Sally Michel Avery worked as a freelance illustrator for decades, enabling her husband Milton to paint fulltime. Following Milton's death in 1965, she devoted greater time to her own work, and had solo showings in Woodstock at the Jarvis and Bell galleries. Earlier she worked mostly on a small scale, and on paper. After Milton Avery’s second heart attack in 1960, the couple purchased a house in Lake Hill, near Cooper Lake. A few years after Milton’s death, Sally acquired ten acres of land in Bearsville, where she lived and worked during the summer months till her death in 2003. BW Leslie Bender (B. 1952) Self Portrait, 1988 Etching on paper 10 x 8” Historical Society of Woodstock, 2007.027.013 Leslie Bender first learned the art of etching and aquatint at the Art Students League in New York in 1972. Her next serious printmaking endeavor was at the Woodstock School of Art in 1986, when she served as the monitor in Robert Angeloch’s printmaking class. Bender, who has been active for almost forty years as an artist in the Hudson Valley, encouraged Angeloch to utilize the lithographic stones left by the league’s summer school following its departure in 1979 from Woodstock, where it had resumed its activity following World War II. BW Louise Brokenshaw (1907-1992) Portrait of Harry Cowell, 1973 Pastel on paper 19 x 14 ½” Historical Society of Woodstock, 2007.027.177 Louise Brokenshaw focused primarily on ceramics. She was prominent in Woodstock for over thirty years beginning in the 1940s, and lived with her artist husband, Brock, in Shady, in a farmhouse they restored, which was built for the head of the colonial glass factory that once operated there. She taught ceramics out of her home and through the Woodstock Guild of Craftsmen. This pastel portrait features Henry Cowell, the world-renowned avant-garde 20th century composer, musical theorist, pianist, teacher, publisher and impresario who beginning in 1942 had a home in Shady with his wife Sidney, a pioneering ethnomusicologist and folklorist. Among Cowell’s private students were John Cage and Lou Harrison. MY Manual Bromberg (1917-2022) Self Portrait, 1955 Charcoal on paper 11 x 8” Historical Society of Woodstock, 2007.027.219 Manuel Bromberg was first drawn to Woodstock in 1941 by the painter Arnold Blanch, who invited the young artist to stay with him. He briefly returned to the area in 1950 when he and his wife lived in the Maverick art colony in West Hurley. Bromberg settled permanently in town in 1957 after he accepted a teaching position at SUNY New Paltz. In the mid-1950s, the artist was highly active as a portraitist. In 1954 he was commissioned to paint portraits of several of the NATO Generals. Among Bromberg’s later more abstract work is a series of innovative, monumentally scaled “Cliff Sculptures,” which were inspired by the landscape of the Catskills and cast in polyester and fiberglass. MY Tode Brower (1898-1974) Portrait of Carl Walters, 1935 Charcoal on paper 11 x 9” Historical Society of Woodstock, 2007.027.175 Tode Brower came to Woodstock in the late 1920s with his artist wife, Jo Cantine, and settled in Bearsville. During the winters, the couple traveled throughout the Caribbean, Mexico, and Central America, gaining inspiration for their work. Although Brower painted mostly in watercolor, he was commissioned in 1935 by the WPA to paint a mural for the new armory in Kingston. The subject of this portrait, Carl Walters, was a painter and printmaker turned ceramic sculptor who came to Woodstock in 1922. Walters joined the Maverick art colony, where he focused on hand-molding sculptures and producing complex and original glazes for his work. A lithograph by Walters is featured in this exhibition. MY Konrad Cramer (1888-1963) Self Portrait, 1933 Ink, pen and brush on paper 8 x 5 ½” Historical Society of Woodstock, 2007.027.162 Konrad Cramer was always open to working in new techniques, styles and media. A native of Germany, he met the aspiring painter Florence Ballin in Munich in early 1912. Following their marriage, they settled in Woodstock, where Florence had previously been studying, living and working. Cramer was deeply involved in the Woodstock community. Among other things he played a role in the founding of the Historical Society of Woodstock. During the Great Depression, Cramer seriously questioned the place that artists of the day had in relation to society. In 1933, he wondered what “place an artist had in relation to his time, of what social and ethical importance has he, is he showing a clearer way to a better life?” BW Julio de Diego (1900-1979) Self Portrait, c. 1970 Lithograph on blue paper 20 x 16 ½” Historical Society of Woodstock, 2007.027.009 The flamboyant Julio de Diego was born in Madrid, and left home at the age of 15. In 1924 he emigrated to the United States, where he became active in the art world of Chicago. In the late 1940s he exhibited with the Surrealists in Paris. Diego first visited Woodstock in 1950, and moved permanently to the town in 1961. Art writer Lester Burban remarked that the artist’s “fierce and mobile face, framed in jet black hair, is startlingly lighted by a pair or paradoxically compassionate forget-me-not blue eyes. It is not surprising, with his dramatic demeanor, that he acted in one of the early Spanish movies, was an extra with the Russian Ballet and a pantomimist with a Spanish theatrical company in Tampa, Florida.” BW John Fenton (1912-1977) Self Portrait, c. 1960 Graphite on paper 17 x 12” Historical Society of Woodstock, 2007.027.007 Painter, printmaker, poet, art critic and teacher John Fenton was born in Mountaindale, New York. He attended the Art Students League of New York and Atelier 17 in Paris. Among his teachers was the Surrealist Frederico Castellón. Fenton taught at New York University, Goddard College and the Gedney School of Art. He and his artist wife, Sophie Fenton, lived for many years in Mount Vernon, New York. In 1948, they began summering in Woodstock, and in 1969 moved there permanently. In an article in the Woodstock Times in 2002 Fenton was fondly recalled as “a thin, bearded man with great energy and humor.” BW Aline Fruhauf (1907-1978) Caricature of J. P. McEvoy, c. 1930 Pen and ink and gouache on paper 8 2/3 x 4 2/3” Historical Society of Woodstock, 2007.027.201 Aline Fruhauf established a major reputation in the 1920s as a caricaturist of writers, artists, musicians, and actors. She spent summers in Woodstock in the early 1930s, where she created caricatures of artists Yasuo Kuniyoshi, Eugene Speicher, and Konrad Cramer, and the writer J. P. McEvoy, among others. McEvoy achieved renown as a playwright and scripter of the popular Dixie Dugan comic strip drawn by Woodstock illustrator John H. Striebel. In the 1920s and early 1930s, McEvoy and his artist wife Eugenie presided over a 20-acre estate in Bearsville, which included a manor house, two studios, a stable, and an Olympic-sized swimming pool. BW Daniel Gelfand (B. 1948) Self Portrait, 1980 Etching on paper 12 ¾ x 9 ¾” Historical Society of Woodstock, 2007.027.193 A native of Queens, Daniel Gelfand studied art at several schools in New York, including Southampton College, the Brooklyn Museum Art School, and the New York Studio School, and completed graduate work at C. W. Post College and SUNY New Paltz. He initially came to the Woodstock area in 1973, when he lived with his wife Jennifer in Mount Tremper. While residing later in Shokan he became close with artists André Ruellan and John W. Taylor. Following Taylor’s death in 1983 he built a house on the couple’s property in Shady. For many years Gelfand was deeply involved with the Woodstock artistic community. Gelfand became interested in etching while studying printmaking in 1983 with Ben Wigfall and Joe Ramos at SUNY New Paltz. Self Portrait was his initial work in the medium. He drew six self-portraits on paper, placed them in front of himself, then proceeded to draw the image on the etching plate while editing from all six. He recalls that Taylor thought that Self-Portait “was terrific for a first etching.” In the course of the 1980s and 1990s, the artist was deeply engaged with etching and monoprints, and was active as a printer for other artists, including Ruellan and Norma Morgan. Gelfand currently resides in Saugerties. BW Kurt Sluizer (1929-2009) Self Portrait, June 1959 Charcoal, crayon and chalk on paper 16 ¼ x 11 ½” Historical Society of Woodstock, 2007.027.036 Kurt Sluizer was born in Holland and moved to the United States in 1939. He lived briefly in Reno, Nevada, then moved permanently to Woodstock in 1943. He was experimental in his mediums and subjects, working in oil and pastel, making lithographs, and focusing on a range of subjects including portraits, still lifes, interiors, and landscapes. MY Judson Smith (1880-1962) Sketch of Miska Petersham, 1923 Graphite on clay-coated wove paper 12 x 9” Historical Society of Woodstock, 2007.027.242 Judson Smith was a native of Michigan. In 1921, he and his artist wife Mary left Detroit for a trip abroad. On returning to America later that year they visited Woodstock, where Judson was impressed by the art he saw on view at the Woodstock Artists Association, and was convinced the community would be stimulating. He settled with his family on part of the old Risely farm on Ohayo Mountain Road. Smith occasionally depicted artists he associated with in town, including Miska Petersham and Sam Wiley. Miska and his wife Maud were acclaimed writers and illustrators of children’s books. Born in Hungary, he traveled to New York in 1911, where he found work at the graphic studio International Art Service. He met Maud across the drawing board. The couple married in 1917, and in 1923 settled near the village of Woodstock in a house on the Glasco Turnpike. BW In order to conserve Smith’s drawing, the paper conservator Sarah Dove will need to remove tape and adhesive from verso, water wash with filtered pH adjusted water to reduce soluble discoloration in the sheet, reduce discoloration with ammonium citrate dibasic, further water wash to remove chemicals, consider light bleaching to reduce the foxing further, size with methyl cellulose to further protect the paper, minimize the strong creases by lining the back of the drawing with Japanese paper and wheat starch paste. Conservation Estimate: $625.00 Judson Smith (1880-1962) Sketch of Sam Wylie, 1923 Graphite on clay-coated wove paper 12 x 9” Historical Society of Woodstock, 2007.027.241 Sam Wylie was born in Indiana and grew up in Pennsylvania. Shortly after graduating in 1905 from Indiana University (where his grandfather was the school’s first president), he attended classes at the Art Students League of New York, and then came to study in Woodstock with Birge Harrison at the league’s Woodstock School of Landscape Painting. A pioneer of the art colony, Wylie was active as a landscape painter and photographer. BW In order to conserve Smith’s drawing, the paper conservator Sarah Dove will need to water wash with filtered pH adjusted water to reduce soluble discoloration in the sheet, reduce discoloration with ammonium citrate dibasic, further water wash to remove chemicals, consider light bleaching to reduce the foxing further, size with methyl cellulose to further protect the paper, minimize the strong creases by lining the back of the drawing with Japanese paper and wheat starch paste, and fill the losses with a comparable paper toned to match. Conservation Estimate: $625.00 TOWN, CITY AND FARMSCAPES Marianne Appel (1913-1988) Ski Town, c. 1941 Graphite on paper 23 x 30 ¾” Historical Society of Woodstock, 2007.027.677a-c Marianne Appel grew up in New York City. From 1932-1934 she attended Sarah Lawrence College and studied art with Peppino Mangravite and Bradley Walker Tomlin, a longtime resident of the art colony, who may have inspired Appel to attend the Woodstock School of Painting in the summer of 1934. There she studied with Charles Rosen, Konrad Cramer, Henry Lee McFee, Henry Mattson, and Austin Mecklem, whom she married two years later. Ski Town is a working drawing for the artist’s unlocated oil painting of the same title, which was shown at the Carnegie International in Pittsburgh in 1941. The location of the town is not known for certain, but it is probably based on a view of Phoenicia. Following Mecklem’s death in 1951, Appel relocated to New York City, where she achieved acclaim as a designer and fabricator of puppets for television and film productions. BW In order to conserve Appel's drawing, the paper conservator Sarah Dove will have to mechanically remove the cardboard backing board to the adhesive layer with a scalpel (retaining the authentication stamp on the verso), reduce the adhesive as possible with the appropriate solvent, water wash with filtered pH adjusted water to reduce soluble discoloration in the sheet, reduce discoloration with ammonium citrate dibasic, further water wash to remove chemicals, consider light bleaching to reduce the foxing further, line overall with Japanese paper and wheat starch paste, and mylar encapsulate the authentication stamp removed from the verso. Conservation Estimated Cost: $2,750.00 Clarence Bolton (1893-1962) After the Storm, February 1938 Lithograph on paper 9 ½ x 12 1//4” Historical Society of Woodstock, 2007.027.094 Painter, graphic artist and printmaker Clarence Bolton first settled in Woodstock in 1917. His interest in lithography developed in 1938 while he was engaged with the WPA art project, and worked closely with printer Grant Arnold, creating prints of familiar scenes and places around town, including people doing chores and activities common to country life. BW Reeves Brace (1898-1934) Mearns’ View, c. 1930-1932 Lithograph on paper 12 x 16” Histoical Society of Woodstock 2007.027.223 Reeves Brace and her husband, the writer and craftsman Ernest Brace, began spending summers in Woodstock in 1924. They probably were drawn to the art colony by Peggy Bacon, who formed a friendship with Reeves at the Art Students League in New York. About a dozen oils, drawings and prints are currently known by Reeves. The group includes landscapes, still lifes, animal subjects and a sporting scene. Mearns’ View features the view from the Bearsville property of author and educator Hughes Mearns. BW Karl E. Fortess (1907-1993) Woodstock Village, 1934 Ink and gouache on paper 10 x 13” Historical Society of Woodstock, 2007.027.083 Karl E. Fortess attended the Art Institute of Chicago in the late 1920s, and then moved to New York City. From there he hitchhiked north, unsure of whether he wanted to travel to the artist colony in Woodstock or Provincetown, Massachusetts. During the course of his expedition he visited a police station to learn which place was closer. He hitchhiked the rest of the way to Woodstock and arrived with a few cents in his pocket. A person gave him a lift to West Hurley, where he met Maverick art colony founder Hervey White, who gave him an attic room to live in. At the Woodstock School of Painting, Fortess came under the tutelage of Yasuo Kuniyoshi, whose work influenced his direction and style as a landscape painter. Fortess remarked that during his formative years in the colony there were “two kinds of artists . . . younger or older, with a kind of protective arrangement between them.” BW Milton Glaser (1929-2020) Window in Woodstock (Flowers in a Vase), 1986 Serigraph on paper (Artist's Proof) Historical Society of Woodstock, 2007.027.213 Milton Glaser, a renowned artist and graphic designer, joined the Woodstock community as a seasonal resident in the 1950s and continued coming regularly for the rest of his life. He was best known for cofounding New York Magazine, and designing the iconic "I [heart] NY" graphic. He created illustrations for a wide range of uses, such as album covers, advertisements, postcards, playbills, menus, and stationery. Many of his illustrations were created to inspire tourism in New York State, like this view of Woodstock, which the town utilized to promote tourism. MY Harry Gottlieb (1929-2020) The Roundhouse, 1930 Lithograph on wove paper 13 ½ x 18 1/2” Historical Society of Woodstock, 2007.027.385 Harry Gottlieb regularly discovered interesting material in Kingston, where he depicted brickyards, railroads, and barges, and created his arresting image of the train repair shop in the Rondout section of the city, printed in Woodstock by Grant Arnold. A still life by the artist is also included in the exhibition. BW In order to conserve Gottlieb’s lithograph, the paper conservator Sarah Dove will need to mechanically remove the pressure-sensitive tapes from the verso, reduce the adhesive with the appropriate solvent, water wash with filtered pH adjusted water to reduce soluble, discoloration in the sheet and remove the paper tapes, reduce discoloration with ammonium citrate dibasic, further water wash to remove chemicals, consider light bleaching to reduce the foxing further, and size with methyl cellulose to further protect the paper. Conservation Estimate: $750.00 Wilna Hervey (1894-1979( Woodstock Post Office, 1945 Waterclor and ink on paper 6 ½ X 7 ¾” Historical Society of Woodstock, 2007.027.121 Early in life Wilna Hervey became well known for her role as Katrinka in a series of two-reel live action silent comedies based on the popular comic strip Toonerville Trolley. She first came to Woodstock in 1918 when she attended Winold Reiss’ summer art school. In 1924, she and her artist partner Nan Mason settled on a 4 ½ acre mountainside property in Bearsville. At the end of World War II, Hervey had an artistic breakthrough when artist Henry Lee McFee urged her to abandon her interest in drawing portraits in a traditional style indebted to Reiss’ example, and develop her own more personal vision. Working in various media, Hervey developed a folk art style, and pictured still lifes and images of local sites, such as the village green and post office. BW Florence Tuttle Hubbard (1892-1968) View of Overlook Mountain from Artist’s Studio Window in Bearsville, 1922 Watercolor on paper 20 x 16 Historical Society of Woodstock, 2007.027.527 The little remembered artist Florence Tuttle Hubbard was born in Hartford, Connecticut in 1892. In 1921 she began a long career as an art teacher in the New York City School system, first teaching at Boys High School in Brooklyn and then at Flushing High School in Queens. Hubbard first came to Woodstock in 1920, when she studied at the Art Students League’s summer school. In about 1922, Hubbard began spending summers in Bearsville. In 1938 she bought a house on Wild Rose Hill in the hamlet. Following her retirement around 1950, Hubbard spent most of her time upstate. She was involved with several local organizations (including the Woodstock Garden Club). and developed a new interest in weaving. View of Overlook Mountain from Artist’s Studio Window in Bearsville reveals Hubbard’s creative approach to tackling outdoor subjects. and arresting sense of composition BW Florence Tuttle Hubbard (1892-1968) Scene of Market Fair, 1924 Watercolor on paper 10 ½ X 13 1/2” Historical Society of Woodstock, 2007.027.280 Hubbard’s lively and richly hued watercolor of the local Market Fair dates from 1924. For more than three decades the fair was held every Saturday near the village green during the summer months. Woodstock historian Janine Fallon-Mower has noted that the artist Ethel Peets “developed the idea of Saturday Market Fairs in 1917 as a way to raise money for the Red Cross. Ethel and Marion Eames set about gathering a group of volunteer workers to run a street fair, patterned after similar fairs that were common in Europe. Table sellers, as they were known, set up on a vacant lot behind the village green in an area now occupied by the Garden Café.” Among other things, the fair was a popular place to buy flowers, jewelry and interesting odds and ends. The fair survives today in the guise of Mower’s Saturday Sunday Flea Market on Maple Lane in the village. BW David Huffine (1911-1973) Library Fair, 1948 Ink on paper 25 x 20” Historical Society of Woodstock, 2007.027.135 David Huffine was born in Knoxville, Tennessee, and began his residency in Woodstock in 1938. Trained at the Art Students League, he became a well-known cartoonist, producing humorous works emblematic of the 1940s and 50s. Both Huffine and Florence Tuttle Hubbard have pictures of the Woodstock Market Fair in this exhibition. The Library Fair has been held on the home grounds in front of the library since 1931, four years after the library moved to its present home. The fair itself goes back to 1917 when it was begun as a fundraiser for the library when there was no library budget. From 1927-1946 the library borrowed the tent and tables belonging to the Saturday afternoon Market Fair, and the Library fair was held on Wednesday to avoid interference. The Kingston Daily Freeman reported that at the 1948 Library Fair the “crowd was larger. The costumes, booths, personalities and just about everything was gayer and livier than ever before.” BW Neil Ives (1892-1946) Untitled, 1923 Lithograph on paper 6 ½ x 9 ¼” Historical Society of Woodstock, 2007.027.423 Neil Ives was a native of St. Louis , where his father, Halsey C. Ives, was founding director of the St. Louis Art Museum. After attending the Pennsylvania Academy of the Fine Arts and the Art Students League of New York, Ives came to Woodstock in 1913 to study at the league’s summer school, and eventually decided to settle here. He and his wife, the artist Dorothy Greenwood Ives, lived on a knoll behind the present library and Orchard Lane. In the early 1920s, Bolton Brown, George Bellows, Andrew Dasburg, Henry Lee McFee, Konrad Cramer and Ives were among a small group of colony artists working with lithography. Mary James (Born 1959) Night Winter Storm View of Woodstock (Winter Storm), 1986 Etching on paper 6 ¾ x 10” Historical Society of Woodstock, 2007.027.181 Mary James is the granddaughter of historian Alf Evers, with whom she resided in Shady from 1982-1999. James grew up in Switzerland, and studied at the École Nationale Superieure des Beaux Arts in Paris and Goldsmith’s College in London. Soon after moving to the area in 1982 she became interested in printmaking, and discovered “so much possibility in black and white.” She served as a printmaking instructor at the Woodstock School of Art, and in 1987 formed a support group with local artists Richard Pantell, Daniel Gelfand, Tim Slowinski, and Ernest Frazier. James’ prints of the period were usually made from direct observation in the landscape and from her experience of being outdoors in all kinds of weather. The etching in the exhibition is the only etching she created at the time that was based on a dream. James currently resides in White Plains, New York. BW Doris Lee (1905-1983) Mountain Farm, c. 1942 Lithograph on paper 7 x 8 ¼” Historical Society of Woodstock, 2007.027.109 Painter and printmaker Doris Lee attended the California School of Fine Arts in San Francisco in 1930, where she studied with visiting instructor Arnold Blanch. The following year she was drawn to Woodstock by Blanch, with whom she later had a long-term relationship. In 1942, Lee acquired six acres of land outside the village, with a large farmhouse, red barn, apple orchard and view of the mountains. The house (located at the juncture of route 212 and Chestnut Hill Road), had formerly been owned by artist and local philanthropist Alice Wardwell. The house’s backyard kitchen garden and barn resemble the those garden and barn that appear in in Mountain Farm, which dates from the early 1940s. Lee’s art at the time was grounded in her study and admiration for American Folk art of the 19th century, portraying country life with a sense of whimsy and joy. BW Patricia Hart Vinton Brown Ravenal (1883-1955) Woodstock, 1923 Ink and watercolor on paper 14 ½ x 10 ½” Historical Society of Woodstock, 2007.027.422 Patricia Hart Vinton Brown Ravenal was born in Brookline, Massachusetts, and was the great-granddaughter of British-born architect Benjamin Latrobe. Following her divorce from Hans Stunz in 1917, she began splitting her time between Woodstock and St. Mary's, Georgia. Best known for her miniature portraits, she was also active as an oil painter, watercolorist and woodblock printer. Ravenal created carefully observed landscapes of the Hudson Valley, as well as whimsical scenes drawn entirely from her imagination Carl Walters (1883-1955) Two Men (Raising the Plate), 1920 Lithograph on paper 10 ¼ x 8 ¾” Historical Society of Woodstock, 2007.027.125 Walters was born and raised in Fort Madison, Iowa, and studied at the Minneapolis School of Fine Arts and the New York School of Art. In 1912, Walters and his wife Helen moved to Portland, Oregon, where he painted seascapes, wharf and circus scenes. In 1919, he was commissioned to illustrate the Portland shipyards’ contributions to the World War 1 effort. He visited the local shipyards at all hours of the day and night, and created sketches of men at work on the huge boats, which formed the basis for his series of 30 lithographs documenting the local ship building industry. In 1922, art writer and curator William Murrell invited Walters to Woodstock, where he settled on the Maverick in West Hurley, and established a major career as a ceramic sculptor. BW William Duke West (Active 1930s) Woodstock Landscape, 1937 Gouache on paper 9 ¾ x 14” Historical Society of Woodstock, 2007.027.234 The little-known William Duke West was active in Woodstock in the 1930s. This radiant landscape was donated to the Historical Society of Woodstock by Tom and Yvonne Riley. Tom Riley is the author of the recently published memoir More Light: An Artist’s Life with Meher Baba, in which he discussed his life and times in Woodstock, and his study in 1947 and 1948 with the artist Walter Goltz, whose home and studio is the present site of the Historical Society of Woodstock. BW STILL LIFES William H. Arlt (1868-19529) Flowers, 1949 Gouache on paper 19 x 22” Historical Society of Woodstock, 2007.027.269 William Henry Arlt was a prominent textile designer and teacher. Born in Breslau, Germany, he fled the country at age 12 to escape growing militarism. With his brother and mother, he settled in New Jersey and studied commercial art. Arlt established his own offices in the city, served as president of the American Textile Designers Guild, and taught at the Textile Evening School of Design, among other places. He first came to Woodstock in 1906, and studied painting under Birge Harrison. After summering in Woodstock for several years, Arlt built a group of artists’ cottages on the hillside along Glasco Turnpike, and established a small art and design school. A great lover of flowers, Arlt worked in his extensive gardens in his spare time, and created a group of vibrant and colorful floral still lifes. For her work on Arlt’s Flowers, paper conservator Sarah Dove, mechanically removed the construction paper window mat and corrugated backing board to the adhesive layer with a scalpel, reduced the adhesive as possible with acetone, humidified, flattened between blotters and weight, mended tears, and filled losses with a comparable paper toned to match. BW Ernest Fiene (1894-1965) Still Life, 1924 Watercolor on paper 19 x 13 ¾” Historical Society of Woodstock, 2007.027.247 Ernest Fiene was born in Elberfield, Germany, and immigrated to America with his family in 1912. His sculptor brother Paul came to Woodstock in 1919, when he bought several acres of property from the artist Caroline Speare Rohland, on what today is Speare Road. The following year Ernest joined his brother, and built a home and studio on the property. In the early 1920s the Fiene brothers (and Paul’s wife, the artist Rosella Hartman) were part of a tight-knit circle of artists and writers in town that included visiting poet Hart Crane and sculptor Gaston Lachaise. For ten years Woodstock was Ernest’s principal residence, and a major source of landscape subjects for his work. He also created floral still lifes, often featuring zinnias. He was included in an exhibition of flower pictures at Wanamaker’s Department Store in New York City in 1920, which featured fellow Woodstockers Paul Rohland and Konrad Cramer. BW Harry Gottlieb (1929-2020) Still Life, 1930 Watercolor and graphite on paper 8 ½ X 9 ½” Historical Society of Woodstock, 2007.027. 238 Born in Romania, Harry Gottlieb settled with his family in Minnesota in 1907. From 1915-1917 he studied at the Minneapolis School of Fine Arts, where his fellow students included future Woodstockers Arnold Blanch, Lucille Blanch, and John Flannagan. Gottlieb lived in the Maverick art colony in West Hurley from 1922 to 1934, where he specialized in depicting landscape and industrial subjects, while creating an occasional tabletop still life. A lithograph featuring the Rondout in Kingston is also featured in the exhibition. BW Georgina Klitgaard (1893-1978) Still Life, c. 1940 Watercolor on paper 13 x 10” Historical Society of Woodstock, 2007.027.075 Born in New York City, Georgina Klitgaard graduated from Barnard College and attended classes at the National Academy of Design. In 1917, she married the Danish mariner, writer and artist Kaj Klitgaard. They came to visit friends in Woodstock in 1920, and fell in love with the area. The couple bought a house on a steep ledge at the end of Cricket Ridge high above Bearsville, which provided panoramic views of the mountains and valleys of Woodstock. Best known for her landscape paintings of upstate New York, Klitgaard also created numerous still lifes of flowers in watercolor. BW Mary D Smith (1877-1967) Hollyhocks, 1923 Graphite on paper 13 x 9 ½” Historical Society of Woodstock, 2007.027.282 Mary D. Smith was born in Detroit, Michigan, and moved to Woodstock in 1922. She was the wife of artist Judson Smith, whose work is also featured in this exhibition. Mary was one of the founders of the Woodstock Guild of Craftsmen, and was mostly active as a craftsperson. She began producing batiks, an Indonesian technique of wax-resistant dyeing, as early as 1918. She continued to produce these designs on fabric, which she called table pieces, for the rest of her career. In 1948, she started the Crafts Cooperative in Woodstock, a shop where craftsmen could sell their goods to help fund their crafts.
6840	dbpedia	1	94	https://issuu.com/american_folk_art_museum/docs/folkart_23_2_sum1998	en	Folk Art (Summer 1998)	https://image.isu.pub/13…5/jpg/page_1.jpg	https://image.isu.pub/13…5/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/american_folk_art_museum/photo_large.jpg", "https://image.isu.pub/240313193154-61dbfde18cc2f112549a91902253d43f/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/131203165534-aef838ce0ca78e01a07ec92fc319cdb7/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/131203170341-9950383ae8f99e4a695b25613e7662a9/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/131203181224-3f59babb22985da9a49f034940b09ec3/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/131203175732-3beb6b1ac3ce8257f71c93eadc370986/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/131203171534-be48b840ca37be186ade835acff340fb/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2013-12-05T22:21:23+00:00	Mary Ann Willson: Artist Maid • Edge to Edge: Selections from Studio Art Quilt Associates • George E. Morgan: Self-Taught Maine Artist • In the Min...	en	/favicon.ico	Issuu	https://issuu.com/american_folk_art_museum/docs/folkart_23_2_sum1998	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
6840	dbpedia	3	62	https://galeriemagazine.com/bosco-sodi-catskills/	en	Go Inside Bosco Sodi's Sprawling New Museum in the Catskills	https://galeriemagazine.…500-ZSH_7035.jpg	https://galeriemagazine.…500-ZSH_7035.jpg	[ "https://www.facebook.com/tr?id=437834203684528&ev=PageView&noscript=1", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/logo-galerie.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/icon-close.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/logo-galerie.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/icon-close.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/logo-galerie.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/assets/images/icon-close.svg", "https://galeriemagazine.com/wp-content/uploads/2022/06/cover-bosco.jpg", "https://galeriemagazine.com/wp-content/uploads/2020/05/Galerie-Bosco-Sodi16339.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/1500-ZHYJ7678.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/1500-ZSH_7083-HDR.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/1500-ZSH_7035.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/1500-ZHYJ7662.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/1500-ZHYJ7470-HDR.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/800-ZSH_7095.jpg", "https://galeriemagazine.com/wp-content/uploads/2022/05/800-ZSH_7111.jpg", "https://galeriemagazine.com/wp-content/uploads/2024/05/LOEWE_2024_CRAFT_PRIZE_ELEVATED_SPACE_DETAIL_CROPPED_2880X1620_5-500x500.jpg", "https://galeriemagazine.com/wp-content/uploads/2024/05/27320FLV-500x500.jpg", "https://galeriemagazine.com/wp-content/uploads/2024/05/2-Olivier-Portrait-_COVER-500x500.jpg", "https://galeriemagazine.com/wp-content/uploads/2024/05/2.-Installation-view-Frank-Stella-500x500.jpeg", "https://www.galeriemagazine.com/wp-content/uploads/2020/10/IMG_9989.jpg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/img/thankyou.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/img/icon-close.svg", "https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/img/live-artfully.svg" ]	[]	[]	[ "" ]	null	[ "Lucy Rees" ]	2022-06-03T11:11:58+00:00	Dubbed Assembly, the 23,000-square-foot nonprofit art space is located in a former Buick dealership and will showcase artists from around the world.	en	https://galeriemagazine.com/wp-content/themes/galerie-magazine-new/favicon.ico	Galerie	https://galeriemagazine.com/bosco-sodi-catskills/	The inaugural exhibition explores ideas of cultural, social and economic exchange, a longstanding mission for the artist. The show, curated by Dakin Heart, is titled “Contemporary Sculpture from Mexico” and features work by the likes of Jose Davila, Hector Zamora, Yolanda Ceballos, and Bosco Sodi himself. In another exhibit titled “Assembly 1: Unstored,” there are are pieces by Ugo Rondinone, Izumi Kato, and Shiro Tsujimura. Taking cues from the regeneration of the area surrounding Casa Wabi, which features a studio, artist residency, and also a series of restaurants and hotels, Sodi has plans to also offer educational and community programming in Monticello. To create an art destination with real pull, he also plans to add a restaurant to the site in the future. See images of the museum below.
6840	dbpedia	2	79	https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/African-American-Guide-To-Meetings-Incentives-Tr.aspx	en	American Guide To Meetings, Incentives & Traveling In The Northeast			[ "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/bmt_logo.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/banners/tbcvb_49899-20_meetings_728x90_AnchorBrine.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/separator.gif", "https://www.blackmeetingsandtourism.com/images/cmssys/thumbnails/july-august-2024-22419-1750-TransparentWhite-1.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Mohegan_Connecticut.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Delaware_Library.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/West_Quoddy_Maine.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Harbor_Baltimore.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Boston_Skyline.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Autumn_Hampshire.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Atlantic_Center.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Newark_Dusk.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Niagara_York.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Toronto_streets.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Philadelphia_Skyline.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Fight_Forge.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Rhode_Providence.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Group_Vermont.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/stories/Nov_Dec11/Martin_DC.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/banners/Screen-Shot-2024-06-04-at-7.19.02-PM.png", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/banners/VDC_17603_24_BAU_Dining_Banners_Static_160x600.jpg", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/banners/Screen-Shot-2024-07-15-at-5.05.01-PM.png", "https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/images/btmShadow.png" ]	[]	[]	[ "Black Travel", "African-American Travel", "Multicultural Travel", "Black Meetings", "Publications", "African-American Meetings", "Multicultural Meetings", "Heritage Tourism", "Black Heritage Tourism", "African-American HeritageTourism", "Cultural Tourism", "Planning Meetings", "Conferences & Conventions", "Convention & Conference Centers", "Diversity in Travel Industry" ]	null	[]	null					https://www.blackmeetingsandtourism.com/Publications/Black-Meetings-Tourism/2012/November-December-2011/African-American-Guide-To-Meetings-Incentives-Tr.aspx	It’s easy to tick off many of the things that make the Northeast such an interesting travel destination. You’ve got the dazzling fall foliage, and picturesque coastal playgrounds winter resorts; a wealth of acclaimed cultural attractions; plus the region’s central role in America’s Colonial, Revolutionary War and Underground Railroad history. Then there are the things you might not expect, like the region’s thriving winemaking and winery tourism industry. In fact, New York is one of America’s top wine-producing states. Beyond the vineyards, the Northeast is showing its green side through a variety of local sustainability initiatives. There are hotels and convention center buildings earning LEED certifications and implementing environmentally friendly practices, while new parks, hiking and biking trails are springing up to encourage the enjoyment and preservation of green spaces. The destinations profiled here are located in or near some of the largest U.S. population centers — making them very accessible to meeting attendees — and many of the larger cities offer light rail, free downtown shuttles and other public transit options that make them easy to navigate once you arrive. Here’s a glimpse of what’s waiting to be discovered when you do. CONNECTICUT The story of the Amistad, the Cuban schooner where the famous 1839 slave revolt took place off the Connecticut coast, is preserved and retold through several historical sites in the state. At the former site of the New Haven Jail, where the Africans aboard the slave ship awaited trial, stands the Amistad Memorial, created by African-American sculptor Ed Hamilton. New Haven also is the home berth of the Freedom Schooner Amistad, a recreation of the original ship that travels on educational missions. The Old State House in Hartford was the site of the first Amistad trial. Meeting attendees and other visitors can spend leisure time at one of Connecticut’s coastal resorts, or perhaps see a show and try their luck at a casino. Along with the Connecticut Convention Center in Hartford, the Foxwoods Resort Casino, the MGM Grand at Foxwoods and the Mohegan Sun Casino contain the state’s largest meeting accommodations. DELAWARE From hanging out at Rehoboth Beach and other Atlantic coastal retreats to kayaking in the Delaware Bay, the First State offers a wide range of outdoor recreational attractions. Cape Henlopen State Park in Lewes, for example, is a popular spot for biking, swimming and hiking. The Dover International Speedway, Fort Delaware State Park and the statewide Delaware Wine and Ale Trail are also among the area’s main attractions. History buffs may want to visit Dover’s First State Heritage Park or Wilmington’s Kalmar Nyckel — a recreation of the ship on which Swedish settlers first came to the Delaware Valley in the 17th century — or tour one of the du Pont family’s opulent estates in the scenic Brandywine Valley. While finding bargains at Delaware’s tax-free retail outlets may not make visitors feel quite as rich as a du Pont, the shops are nevertheless one of the state’s top tourist draws. MAINE Here’s one for the “Did You Know?” files of a state not readily associated with Black history: The first African-American college graduate in the United States, John Brown Russworm, received his degree from Maine’s Bowdoin College in 1826. Several notable Black heritage attractions make up Maine’s Portland Freedom Trail — 16 sites with links to with the Underground Railroad and the Abolitionist Movement, including the nation’s third oldest African-American church still standing. Nicknamed the Pine Tree State, Maine is renowned for its rugged natural beauty. Boasting 5,500 miles of coastland, the state is home to the largest fleet of windjammers in North America. Altogether Maine’s state and national parks — of which Acadia National Park is the largest and best known — encompass more than 540,000 acres. Along with its natural scenery, Maine offers a unique man-made photo op: the world’s largest 3-D model of the solar system, laid out over 40 miles between Houlton and Presque Isle. MARYLAND Travelers to Maryland can choose from a lengthy list of Black heritage sites to explore. The capital city of Annapolis is home to the Banneker-Douglass Museum, the Kunta Kinte-Alex Haley Memorial and the Thurgood Marshall Memorial at the Maryland State House. The Frederick Douglass Museum and Cultural Center is located in Highland Beach, in Anne Arundel County. Columbia is the home of the African Art Museum of Maryland and the Howard County Center of African-American Culture, along with an exhibit at Columbia Air Center commemorating the site of the state’s first Black-owned and operated airfield. On Maryland’s Eastern Shore, the Harriet Tubman Museum and Educational Center and other related sites in Cambridge pay tribute to the most prominent figure in the Underground Railroad. Maryland’s nearly 4,000 miles of shoreline, including the Chesapeake Bay and 31 miles of Atlantic Coast, provide great settings for fishing, sailing and beachcombing. BALTIMORE American’s oldest civil rights organization is based in Baltimore. Visitors can see the NAACP Headquarters, along with a host of other Black heritage attractions in Maryland’s largest city. The list includes the Reginald F. Lewis Museum of Maryland African-American History & Culture, the Eubie Blake National Jazz Institute and Cultural Center, the National Great Blacks in Wax Museum and the Frederick Douglass-Isaac Myers Maritime Park, which honors a free African-American who founded the Chesapeake Marine Railway and Dry Dock Company, along with the famed abolitionist and orator. Art lovers will find free admission at the Baltimore Museum of Art and the Walters Art Museum, just two of the city’s more than 20 museums and galleries. Those looking for picture-worthy outdoor scenery might opt for a cruise of the Inner Harbor or a bike ride along Glenn Falls Trail. The Baltimore Convention Center, just 15 minutes from Baltimore-Washington International Airport, is easily accessible via the city’s light rail system. Specs at the 1.2 million-sq. ft. convention center include 300,000 sq. ft. of exhibit space, 50 meeting rooms and a 36,000-sq. ft. ballroom. The city offers more than 8,500 downtown hotel rooms, with more than 1,000 committable rooms adjacent to the convention center. MASSACHUSETTS From Plymouth Rock, the site of the 17th century Pilgrims’ landing, to Beacon Hill, where a large community of free African-Americans resided in the 19th century, the Bay State is home to some of the most iconic places in U.S. history. Massachusetts’ maritime history is evident in the lighthouses dotting its coastline. The home of one of the nation’s first Black sea captains is one of the 22 sites on the African American Heritage Trail on Martha’s Vineyard. That island and other seaside resorts like Cape Cod and Nantucket Island are among the state’s most popular recreational attractions. Outdoor enthusiasts traveling to Massachusetts will also discover plenty more options, from whale watching excursions in Stellwagen Bank to canoeing on the Concord River. Notable cultural attractions include the Worcester Art Museum in Worcester, the Fuller Craft Museum in Brockton and Jacob’s Pillow, and the nation’s oldest international dance festival, in Becket. BOSTON In this very pedestrian-friendly city, you can walk to the riverfront park on the Charles River, stroll along the 40-mile Boston Harborwalk or follow the footpath of the Freedom Trail, Boston’s most popular tour, which links 16 of the sites that make up the Boston National Historical Park. Another walking tour, the Black Heritage Trail, consists of 14 sites connected to the city’s 19th century free Black community. Those landmarks include two sites owned by the Museum of African American History: the Abiel Smith School and the African Meeting House. Constructed in 1806, the African Meeting House is the oldest existing African-American church building in the United States. Reopening in December 2011 following an $8 million restoration, it now offers space for receptions. The African-American neighborhood of Roxbury is home to the Museum of the National Center of Afro-American Artists and the Roxbury Center for the Arts at Hibernian Hall. The Isabella Stewart Gardiner Museum will open a new Renzo Piano-designed wing in January 2012. Across the Charles River in Cambridge, the new Entrepreneur Walk of Fame opened in September 2011. Visitors with a special interest in family attractions might check out the Franklin Park Zoo, the New England Aquarium or the Museum of Science, which also offers a self-guided cell phone tour of green buildings in the Boston area. The Beantown Jazz Festival in September is just one of many special events held throughout the year, including a variety of ethnic festivals. The Boston Convention & Exhibition Center, located two miles from Logan International Airport, has 516,000 sq. ft. of contiguous exhibit space, 160,000 sq. ft. of meeting space, a 40,020-sq. ft. ballroom and more than 300,000 sq. ft. of registration and function space. The city has more than 35,000 hotel rooms. Another popular meeting venue is the Hynes Convention Center, which features 176,480 sq. ft. of versatile exhibit space, a multi-purpose auditorium with seating for over 4,000, 38 meeting rooms and a 24,544-sq. ft. grand ballroom. NEW HAMPSHIRE Whether it’s skiing in the White Mountains, cruising on Lake Winnipesaukee, camping in the Great North Woods or enjoying summertime fun at the beaches and resorts of the state’s 18-mile-long Seacoast Region, New Hampshire offers plenty of outdoor adventure. There’s also lots of history to explore. In Portsmouth, you can visit Strawbery Banke, a site that depicts four centuries of community history. The capital city, Concord, is home to the Museum of New Hampshire History and 20 minutes away from the Canterbury Shaker Village. A trip to the Dartmouth-Lake Sunapee Region offers the chance to tour a historic summer estate at The Fells in Newbury and the campus of Dartmouth University in Hanover. Art and architecture buffs might be interested in the Currier Museum of Art and Frank Lloyd Wright’s Zimmerman House in Manchester. If you bring your passport, you can take an international day trip just across the Canadian border to Quebec. NEW JERSEY One of the most interesting places in New Jersey’s African-American history was the town of Lawnside in Camden County. This historically Black community came to be when a Quaker purchased land and resold the plots to former slaves. Today, visitors to Lawnside (originally called Free Haven) can tour the home of freedman Peter Mott, which served as a station on the Underground Railroad. Other Underground Railroad sites in New Jersey include the Goodwin Sisters House in Salem City, Mount Zion AME Church outside Swedesboro, Macedonia AME Church in Camden, Croft Farm in Cherry Hill, the Burlington Pharmacy in Burlington and Jacobs Chapel AME Church in Mount Laurel. The historic homes, beaches, shops and restaurants of places like Cape May and the Wildwoods make the Jersey Shore a popular recreational retreat. The shore provides the setting for several food and music festivals. ATLANTIC CITY With its famous Boardwalk, gaming resorts and quirky area attractions like Lucy the Elephant already making it one of New Jersey’s favorite destinations, Atlantic City is adding more to see and do. A brand new hotel and casino resort, the Revel, is expected to open in spring 2012. Harrah’s Resort Atlantic City has completed its 45-story Waterfront Tower addition with 961 rooms, 80 suites and 18 super suites. The Water Club, a new property by Borgata Hotel Casino & Spa, offers 18,000 sq. ft. of meeting space along with 800 guest rooms and the 36,000-sq. ft. Immersion Spa. A favorite local shopping venue, Atlantic City Outlets-The Walk, has added 40 new stores. The city’s Civil Rights Garden features a reflecting pool and 11 columns of black African granite etched with quotes from civil rights leaders. Other points of interest include the Absecon Lighthouse, Ripley’s Believe It or Not! Museum and the Atlantic City Aquarium, located in historic Gardener’s Basin. The largest area meeting venue, the Atlantic City Convention Center, has 486,600 sq. ft. of contiguous exhibit space, 45 meeting rooms, a roof-top solar power system, a recycling program and other green initiatives. For lodging, the city offers approximately 20,000 hotel rooms. NEWARK Among the most interesting places to see in New Jersey’s largest city are African-American heritage sites like the Polhemus House, which once served as an Underground Railroad station, and the Kreuger Scott Mansion, which was once owned by the city’s first Black millionaire. The Newark Museum is the city’s most prominent and prestigious cultural attraction, encompassing a planetarium, an 1784 schoolhouse, the Ballantine House — a restored 1885 Victorian mansion once that once belonged to the beer-brewing family — 80 art and science galleries, a miniature zoo and a sculpture garden. A night on the town might feature a concert at the New Jersey Performing Arts Center and dinner in the Ironbound District, known for its Portuguese, Brazilian and Spanish restaurants. Those traveling to Newark in the spring might catch the Cherry Blossom Festival in Branch Brook Park. The park’s grove of more than 2,700 cherry trees is actually larger than the more famous one in Washington, DC. A wide range of meeting facilities can be found at area hotels and larger venues like the Meadowlands Exposition Center in Secaucus, near Newark Liberty International Airport. The nearby Gateway Region is home to the state’s largest convention venue, the New Jersey and Expo Center in Edison, which offers 150,000 sq. ft. of exhibit space. NEW YORK New York has launched new tourism initiative focused on promoting visits to upstate Underground Railroad sites. A major exhibit on the Underground Railroad is housed at the Onondaga Historical Museum in Rochester.The Apollo Theater and jazz clubs in Harlem famously represent New York City’s place as an African-American cultural center. The museum at the famed 369th Regiment Armory, also in Harlem, is a must-see historical site, while another notable Black heritage attraction not far from the Big Apple is the African American Museum located in the Long Island town of Hempstead. The Women’s Rights Historical National Park in Seneca Falls spotlights the state’s claim as the birthplace of the women’s rights movement. Visitors looking for an outdoor New York experience might choose to hike part of the 563-mile Finger Lakes Trail, which extends from the Catskills to the Allegany Mountains, or go on a tasting tour of one of the state’s more than 250 wineries. The 6.1 million-acre Adirondack Park is larger than Yellowstone, Glacier, Everglades and Grand Canyon National Parks combined. BUFFALO/NIAGARA The most prominent sites on Buffalo’s historically Black Michigan Street Heritage Corridor are the Michigan Street Baptist Church, once an Underground Railroad Station, and the Nash House Museum, the former home the church’s legendary pastor, who was the son of freed slaves. In nearby Niagara Falls, you can join an Underground Railroad tour in addition to enjoying a Maid of the Mist boat tour of the falls and other popular attractions. Two more notable Black heritage attractions are Buffalo’s Paul Robeson Theatre and the Colored Musicians Club, where Duke Ellington, Billie Holiday, Dizzy Gillespie and other famous jazz artists performed in the 1930s, ‘40s and ‘50s. These days, music lovers can enjoy the club’s weekly Sunday night jam sessions. Buffalo’s outstanding architecture provides some of its best sightseeing opportunities, while a cruise on Lake Erie or a tour of the Buffalo and Erie County Botanical Gardens would be a good way to view some of its natural scenery.Kids might enjoy a trip to the Museum of Science, while the grownups might want to stop in at the Anchor Bar, home of the original Buffalo wings.The recently renovated Buffalo Niagara Convention Center contains a total of 110,000 sq. ft. of space, with 1,600 hotel rooms located nearby. ONTARIO Canada’s first Black settlement is remembered at the National Historic Site and Museum at North Buxton, one of the stops along the African Canadian Heritage Route. The trail starts in Windsor, the site of the 1846 log cabin of John F. Walls, which, like Bertie Hall in Fort Erie, served as a haven for escaped slaves. The Uncle Tom’s Cabin National Historic Site in Dresden is the former home of the Rev. Josiah Henson, the real-life fugitive slave who inspired the fictional character in the Harriet Beecher Stowe novel. Adventure lovers traveling to Ontario can go hiking along the Bruce Trail and see the Niagara Escarpment, a UNESCO World Biosphere Reserve. The area’s diverse landscape includes farms, beaches, wetlands and wildlife habitats, and there also are a number of historic inns along the trail. Pukaskwa National Park, situated on the shores of Lake Superior, offers a variety of outdoor recreation, from camping to cross-country skiing. TORONTO Ontario’s capital is the fifth largest city in North America, boasting a wide array of cultural and entertainment attractions. One of Toronto’s hottest spots is the area known as The Beaches, which beckons visitors with restaurants, shops, a lakeside boardwalk and a summer jazz festival. The Distillery District offers galleries, eateries and a brewery. Attractions like the Hazelton Lanes Shopping Centre make Yorkville another favorite escape for retail therapy and entertainment. The National Ballet and Canadian Opera have their home stage at the Four Seasons Centre for the Performing Arts, while Massey Hall showcases jazz. Other places to see include the Toronto Botanical Gardens, the Royal Ontario Museum, the Art Gallery of Toronto, the Petroff Gallery and the Gardiner Museum, which is known for its impressive collection of ceramics. Kids might especially enjoy the Hockey Hall of Fame, the Toronto Zoo in the Rouge Valley or the Ontario Science Centre. Toronto hosts more than 1,000 annual festivals and other special events. Among the celebrations are the summertime Scotiabank Caribbean Carnival Toronto and the Toronto International Film Festival in September.The Toronto Congress Centre contains more than one million sq. ft. of space, including 70 meeting rooms and Canada’s largest column-free ballroom at 30,000 sq. ft. The facility has implemented a number of sustainability initiatives, such as a zero waste option for events, energy-efficient lighting, solar faucets and a recycling program. Other major meeting facilities have also gone green. The Metro Toronto Convention Center, offering more than 600,000 sq. ft. of exhibit and meeting space, offers zero-waste event, green electricity and local food sourcing options for meeting groups. The Direct Energy Centre at Exhibition Place counts a 30-story wind turbine, a green roof and waste reduction and recycling programs among its environmental conservation efforts. Lodging accommodations are provided by more than 38,000 hotel rooms citywide. PENNSYLVANIA Historical attractions linked to Pennsylvania’s African-American heritage can be found in both small towns and big cities. Places like the Johnson House Historical Site in Philadelphia, the Kennett Underground Railroad Center in Kennett Square, the Blairsville Underground Railroad Museum in Blairsville and the Thaddeus Stevens-Lydia Hamilton Smith Historic Site in Lancaster highlight the state’s role as a refuge for slaves seeking freedom. That story is brought to life through an Underground Railroad re-enactment called “Living the Experience,” performed at Lancaster’s Bethel AME Church. The pivotal Civil War battle is commemorated at Gettysburg National Military Park, while a key turning point in the American Revolution is remembered at Washington Crossing, the spot where George Washington famously crossed the Delaware River. In the Pennsylvania Wilds region, one of the state’s top sightseeing attractions has become more accessible via a new pedestrian walkway at Kinzua Bridge State Park providing views of the Kinzua Gorge. PHILADELPHIA Black historical and cultural attractions are abundant in the City of Brotherly Love. Points of interest include the African American Museum in Philadelphia, Mother Bethel AME Church, the All Wars Memorial to Colored Soldiers and Sailors, the Civil War and Underground Railroad Museum of Philadelphia and Philadelphia International Records. Also notable is the Philadelphia Museum of Art, which was designed by the African-American architect Julian Abele. Philadelphia’s iconic Liberty Bell and Independence Hall are certainly must-see attractions, as is the newest attraction on Independence Mall, the President’s House Commemorative Site, whose exhibits include a tribute to the nine slaves who worked at George Washington’s Philadelphia residence. Other picks include the new National Museum of American Jewish History, Chinatown, The Franklin Institute Science Museum, the Philadelphia Zoo, the Adventure Aquarium, the World Sculpture Garden at Penn’s Landing riverfront park and City Hall — the world’s largest freestanding masonry building. The Pennsylvania Convention Center offers one million sq. ft. of saleable space, including 528,000 sq. ft. of contiguous exhibit space, 79 meeting rooms and a 55,400-sq. ft. ballroom, the largest on the East Coast. There are 16,000 area hotel rooms, including 7,800 within walking distance of the convention center and 3,000 at Philadelphia International Airport. VALLEY FORGE Located in Valley Forge National Historical Park, the Monument to Patriots of African Descent pays tribute to the estimated 5,000 Black soldiers who fought in the Continental Army. Besides this and other monuments to the history of the Revolutionary War, visitors to the 3,600-acre park — the site of Gen. George Washington’s winter encampment of 1777-78 — can enjoy biking, hiking, horseback riding and sightseeing on the beautifully landscaped grounds. In the town of Valley Forge, the American Revolution Center houses the world’s largest collection of Revolutionary War artifacts. The John James Audubon Center at Mill Grove, at the first U.S. home of the famous French-born naturalist and artist, is a five-mile drive away. Another artist is spotlighted at the mountaintop Wharton Esherick Studio Museum. Other Valley Forge area attractions include King of Prussia Mall, the Elmwood Park Zoo, the Abington Art Center and Green Lane Park, which offers boating, fishing and ice skating among its recreational pursuits. The Valley Forge Convention Center in King of Prussia contains 150,000 sq. ft., including 108,000 sq. ft. of exhibit space. The area has 14 full-service convention hotels, eight conference centers and close to 7,500 total guestrooms. RHODE ISLAND The Providence Black Repertory Company and a small museum at the Rhode Island Black Heritage Society turn the spotlight on the African-American history and Culture of the Ocean State. Providence also is home to the Meeting House of the First Baptist Church in America and the Culinary Archives & Museum at Johnson & Wales University. One of the city’s favorite family attractions is the 430-acre Roger Williams Park, which encompasses the Carousel Village, the Museum of Natural History and Roger Williams Park Zoo. Rhode Island’s more than 400 miles of shoreline includes several prime resorts ideal for a family reunion or incentive trip. One such retreat is Block Island, located 10 miles off the southern coast.Newport’s Gilded Age mansions are among the state’s top sightseeing attractions. The International Tennis Hall of Fame and the White Horse Tavern — the nation’s oldest operating saloon in the United States — are also found in Newport. VERMONT The Rokeby Museum in Ferrisburg, near Burlington, houses exhibits on the history of the Underground Railroad in Vermont. Vermont’s number one tourist attraction is the Ben and Jerry’s Factory in Waterbury Center. Other top historical, cultural and recreational sites include the Vermont State House in Montpelier, the Vermont Ski Museum in Stowe, Green Mountain National Forest and Lake Champlain. Agritourism is booming in the Green Mountain State, at places like the Billings Farm & Museum in Woodstock, the Cabot Creamery Factory in Cabot and Shelburne Farms in Shelburne, where another favorite attraction is the Vermont Teddy Bear Factory. Visitors might consider planning a meeting or leisure trip to coincide with a special event like January’s Winter Festival in Bennington, the Vermont Maple Open House Weekend held at sugarhouses throughout the state in March, the statewide Vermont Open Studio, with nearly 300 artists and artisans participating, or the Burlington Discover Jazz Festival in June. WASHINGTON, DC DC’s most talked about tourism attraction these days is the new Martin Luther King, Jr. Memorial, the first monument on the National Mall to honor a non-president and first to honor a person of color. The centerpiece is 30-ft. statue of King carved into a block of granite called the Stone of Hope, positioned as if emerging from a split boulder called the Mountain of Despair. A 450-ft. curved granite wall is inscribed with 14 quotes from King. Another recent tourism development worth noting is the $150 million restoration of the Hilton Washington. Located four blocks from the Dupont Circle Metro station, the 1,070-room hotel is close to several popular shopping, entertainment and dining districts, including Dupont Circle, Georgetown, Adams Morgan — known for its live music and international restaurants — and the historically Black U Street Corridor, home of the famous Ben’s Chili Bowl. The Hilton is also within walking distance of Embassy Row and a mile from the National Zoo. The hotel offers dining and cocktails at The District Line Restaurant and Bar, the TDL Bar and McClellan’s Sports Bar. The Heights Courtyard & Gardens serves up a picturesque outdoor setting for events, with water features, fire pits and great views of the DC skyline. The Hilton has a total of 110,000 sq. ft. of function space, including 30,000 sq. ft. of exhibit space, the 36,000-sq. ft. International Ballroom and the Heights Executive Meeting Center, which has nine meeting rooms. Guests staying in the 10th floor executive rooms have access to complimentary wireless Internet, daily continental breakfast and late afternoon hors d’oeuvres in the Executive Lounge. The 2.3 million-sq. ft. Walter E. Washington Convention Center is the city’s largest meeting venue, containing more than 700,000 sq. ft. of exhibit space. There are nearly 28,000 hotel rooms citywide. The tourism offices listed with this article can provide additional information to help plan your Northeast meeting, family reunion or incentive trip. CONTACT INFORMATION • Connecticut Office of Tourism — (888) CT-VISIT • Delaware Tourism Office — (866) 284-7483 • Destination DC — (202) 789-7000 • Maine Office of Tourism — (888) 624-6345 • Maryland Office of Tourism — (866) 639-3526 • Massachusetts Office of Travel and Tourism — (800) 227-MASS • New Hampshire Division of Travel and Tourism Development — (603) 271-2665 • New Jersey Division of Travel & Tourism — (800) VISIT-NJ • New York State Department of Economic Development — (800) CALL-NYS • Ontario Tourism Marketing Partnership — (800) ONTARIO • Pennsylvania Tourism Office — (800) VISIT-PA • Rhode Island Tourism Division — (800) 250-7384 • Vermont Department of Tourism and Marketing — (800) VERMONT
6840	dbpedia	0	17	https://www.jenferguson.com/updates/2024/2/21/last-sighting-at	en	"Last Sighting" at Roxbury Art's "Forgotten Spaces" through April 13, 2024-	http://static1.squarespace.com/static/55bb73b4e4b0f2db3b3e4dae/t/65d641d97ca17c347b5c06dd/1708540377991/Last+Sighting-Jen-Ferguson.jpg?format=1500w	http://static1.squarespace.com/static/55bb73b4e4b0f2db3b3e4dae/t/65d641d97ca17c347b5c06dd/1708540377991/Last+Sighting-Jen-Ferguson.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/d3f061a0-2bbc-4c0c-99c3-212cb0a20601/Last+Sighting-Jen-Ferguson.jpg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538977081-B383SPPRLSECZOKR6A7Y/Roxbury1.jpeg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538977081-B383SPPRLSECZOKR6A7Y/Roxbury1.jpeg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538977283-S1Z6N1ZASTSJR5MJ7DOP/Roxbury2.jpg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538977283-S1Z6N1ZASTSJR5MJ7DOP/Roxbury2.jpg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538980373-Z5FUJ6JT8D6U7X5DPDZ2/Roxbury3.jpeg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538980373-Z5FUJ6JT8D6U7X5DPDZ2/Roxbury3.jpeg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538980751-TIVB32H1X8Z8T40GN39Y/Roxbury4.jpeg", "https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1708538980751-TIVB32H1X8Z8T40GN39Y/Roxbury4.jpeg" ]	[]	[]	[ "" ]	null	[ "Jen Ferguson" ]	2024-02-21T00:00:00	I’m pleased to share my contribution to Roxbury Art’s current exhibition “Forgotten Spaces” at the Walter Meade Gallery in Roxbury NY, on view through April 13th, 2024. The Last Sighting refers to the remembered rural landscapes of my youth. Landscape can be an unspoken part of identity, and I f	en	https://images.squarespace-cdn.com/content/v1/55bb73b4e4b0f2db3b3e4dae/1549061371520-OADGCXAOPYTHZRQ2CWD1/favicon.ico?format=100w	Jen Ferguson	https://www.jenferguson.com/updates/2024/2/21/last-sighting-at	I’m pleased to share my contribution to Roxbury Art’s current exhibition “Forgotten Spaces” at the Walter Meade Gallery in Roxbury NY, on view through April 13th, 2024. The Last Sighting refers to the remembered rural landscapes of my youth. Landscape can be an unspoken part of identity, and I feel deeply connected to those places which now are just part of visual memories which keep changing over time. I grew up in the farmlands of the Mid-Hudson Valley. This work depicts a hillside and stand of trees which were later cleared for development. When I was younger, my siblings and I explored the countryside with the vague sense of ownership over places that children often feel. But the terrain is unrecognizable to me now, and so the last sightings are only in my imagination and paintings. In this painting, I kept the aesthetic minimal and contemplative in palette and mood. To echo the vagueness which memories evoke, I left out detail and strived to keep the forms suggestive rather than defined or detailed. The opening of the show last weekend was spectacular. It was great to meet so many of the participating artists, and the other works in the exhibit were beautiful, intriguing and evocative of the theme, each in its own unique way. I highly recommend visiting the show if you are in the Roxbury/Catskills area. And it was great to meet Ursula Hudak who did an outstanding job putting the show together, as well as Jenny Rosenzweig, who is Roxbury Arts’ Executive Director. I was really impressed by everything about the space and the organizers. “Last Sighting” is available for sale. It’s framed in a beautiful dark walnut floater frame and available for the very alluring price of $875. If you are interested in this piece or know someone who might be, please contact Ursula Hudak at the gallery: community@roxburyartsgroup.org or call Roxbury Arts during business hours at 607-326-7908. Here are some pictures and media from the opening- enjoy!
6840	dbpedia	3	15	https://www.beaconhistorical.org/thomas-cole	en	Thomas Cole And His Views — Beacon Historical Society	http://static1.squarespace.com/static/5f29a2ad144562318b6a86fe/t/642c2c31fa5eb469e2018937/1680616497758/FD0E4A1E-EA76-4A1A-96AC-78330EA45E84_1_105_c.jpeg?format=1500w	http://static1.squarespace.com/static/5f29a2ad144562318b6a86fe/t/642c2c31fa5eb469e2018937/1680616497758/FD0E4A1E-EA76-4A1A-96AC-78330EA45E84_1_105_c.jpeg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1596564208646-GJKS7Y84TNNA2X1UNAKV/bhslogowhitemainweb-u40807.png", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1596564208646-GJKS7Y84TNNA2X1UNAKV/bhslogowhitemainweb-u40807.png", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633709018973-Z9M8VWOGLWS2FAV47A8Q/IMG_3257.jpeg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633708789233-VA2NULK8GNMZ55AM88FV/IMG_2564.jpeg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633709067798-6A6YM24ANG9KLEYCQWU1/IMG_3207.jpeg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633708719351-XT6OTGV6Q6ZPPZ2IEH36/Image+10-8-21+at+11.36+AM.jpeg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633743736396-BBOH5EYU00OBT5NLZQEF/IMG_3197.jpg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633743457849-ZDWCT35HLGBS3RJGJJD0/IMG_2555.jpg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1633744005062-0LWLCBYZ8TCCG03ZJS19/IMG_3248.jpg", "https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1597942576845-GMON4M50MGJ9P9L5PT7U/15271936_1141238682579606_3512836566054494029_o.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://images.squarespace-cdn.com/content/v1/5f29a2ad144562318b6a86fe/1596736001762-1XD4260HAL1TX4JOPVHI/favicon.ico?format=100w	Beacon Historical Society	https://www.beaconhistorical.org/thomas-cole	Thomas Cole And His Views The paintings of Thomas Cole, the father of the Hudson River School of landscape painting, provided us with wonderful views of the Hudson Valley, Catskills, New England and imaginary landscapes. Cole’s paintings and his writings also provided us with his views about the changes being wrought by “unbridled” development in America. Both of Cole's views were explored in a presentation given by Barry Ross in October 2021. Cole and his family emigrated from England to America in 1818 when he was 17. In 1825, Cole arrived in New York City and soon set out exploring and sketching in the Hudson Valley and Catskills for the paintings that would lead to the establishment of the Hudson River School of landscape painting. In his presentation Mr. Ross took us – via a score of Cole’s works – from the Hudson Highlands to the Catskill Mountains. Cole’s works had two key elements…Beauty and the Sublime. Beauty was shown by an inviting landscape in which man and nature lived together in harmony. Sublime was represented by a fearsome landscape - an impending storm, or a gnarled tree with broken branches and exposed roots. Cole’s view on the dangers posed by the “axe” and the “improvements” being made to the landscape of America was presented most forcibly in his 1835 “Essay on American Scenery” and can be summed up with its closing passage: “Nature has spread for us a rich and delightful banquet. Shall we turn from it? We are still in Eden; the wall that shuts us out of the garden is our own ignorance and folly. “
6840	dbpedia	0	56	http://www.adriannerubenstein.ca/news	en	NEWS — Adrianne Rubenstein	https://assets.squarespace.com/universal/default-favicon.ico	https://assets.squarespace.com/universal/default-favicon.ico	[ "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1709572277077-Y8C1B04LM31CF7916828/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1709572277077-Y8C1B04LM31CF7916828/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1668552707585-K56SZWC8DI7LZKE5Q2AI/Screen+Shot+2022-11-15+at+5.51.17+PM.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1649274001354-ZOXWRJ5S6E5U2KRD2S86/grifter.nil-database-1.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1646669573951-T4IC96CZY50SXSW4J0AZ/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1614448834096-JSDQHHXL482PVT2GZEVB/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1606761096812-QE5FAE79QKYK2CQJSQ0B/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1583345583029-45ECGN0TJSZI9FM1PJTF/David-Cummings.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1573619187755-FRX19JQMV7KYJT334OUB/nyt-jahnke-review.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1573619135528-0THN7WOUEIZRMXT6WSL9/hj-6.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1573618798369-QHLAM5RGP4ZG7UB3MMO4/HighRes+-+DSC01085.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1564289322694-CY0HGJG1PCA642WPJ5TI/190716_AR_002.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1564289529110-OAK1IT7LQI0VW4E5WTKW/IMG_9222.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1548090592859-YDZ70ZD32OXYQ5D47B4D/unnamed-3.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1544989682899-0X1GYEI4EV4WUNNHXFC9/19a_front_CooperativeCowgirls_McKenzie.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1536470077746-7R3V9684WTNKDM4HJBUM/ARubenstein_GameOfLife_2018.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1535144087137-W3YZ66XZB9190NDPTEM1/tumblr_inline_pdu52fRUqz1qir39u_1280.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1535144255551-0O6GRPFLQWXU2YE8NT62/4.CC_Adrianne_Rubenstein_2018_The_Forest_Floor-1600x1377.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1531633111297-6ZOH9AUTLNNT73FML5GU/thx1138.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1530068162171-OJG5E1HPJXNZU74OPHLG/Out-of-Control-%E2%80%93-curated-by-Peter-Sally-Saul-%E2%80%93-Exhibition-Announcement-WEB-8-1280x1280.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1518794676718-RM2L72OA5PAHK872RPEL/unnamed-5.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1513539165896-M1HJ9KRQ0D7F6YMA2PYC/unnamed.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1511893792682-VRJXPDD4THWESQKLOVE2/unnamed-1.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1508857267777-8GJ04JC8ABVWHJU28BLB/unnamed-1.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1508856641665-I7VQFU9BO6J1GW9RYA2I/unnamed.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1499957111886-BFDJZ3GFI8V6UPMLZF1Q/earputty_new.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1499956611520-T4IEMIBQA63G2BPS0MW1/EH-invite-adrianne.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1491713742307-RH7L3XQ215G0TK5J9ILL/unnamed.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1491023785765-1OR3SOTAIHEGWMHIGJML/57b92361b3.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1491024188305-WCZDAH6074SXKVQ5DXNW/IMG_8222.JPG", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1488934960951-VNN2R038HVFVP14W3OJT/BFoster+Canada+Show+015.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1481042292693-N70MC2DFT376EFPTNZPK/image1.JPG", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1479679116231-H0ANFTOZKW9DD9JQZ3S9/medium_DSC00915.JPG", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1481042792230-T2JQM2T68241SERTC981/inconnue.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1476548924271-QSZLS08M6Z40ZERBMVS7/Bunnicula_diff_actual2.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1472790142823-5RB81FEI4GMZ9RHJT1KZ/EM_05.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1472744879327-GLTUQF3ORQRWP7I15HN0/tumblr_ocpfusl4cZ1qiyeuko1_500.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1471400070609-T0Z0NDDO7I8X9X0BDBHL/VENUS-Artforum.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1469390725842-WSMKMLMWELLGMCE0NXRP/6a693e2e-ab5f-4c82-8ab4-95cc3862b1f0.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1471401175070-068N3XJAEYQRFXU1MMVX/static1.squarespace.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1469125412604-PVU6I7PO8J7EEA8LQYOJ/Screen+Shot+2016-07-21+at+2.22.51+PM.png", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1469123765830-P3BX7QNEKJYKN2TF4KWA/LK_X_Jul16_006.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1466352509595-8LJ2CYP97U0NX8E334HS/43287_ca_object_representations_media_9241_large-1.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1461901222793-CLIUPQG3FIBS4R2B8GR5/frieze-invite.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1471402722223-YOG7GZXMXAU10XW1KSNQ/tumblr_nazwb8XZVi1rpq50ro1_1280.jpg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1458354350781-WH9QV3E3DCZDOUMJZJ7G/image-asset.jpeg", "https://images.squarespace-cdn.com/content/v1/55caba7de4b04c85fd90e536/1456152739547-2HMQ6L3TG4FL82E9DWH2/6711266.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	https://assets.squarespace.com/universal/default-favicon.ico	Adrianne Rubenstein	http://www.adriannerubenstein.ca/news	SPACE MARCH 5 - APRIL 16, 2022, Laurel Gitlen OPENING MARCH 5, 12 - 8pm David Byrd, Owen Fu, Ryan McLaughlin, Dianna Molzan, Yu Nishimura, Adrianne Rubenstein, Tara Walters Shatner almost immediately began to explain the feeling of escaping the Earth’s atmosphere, but waited patiently while Bezos stopped him to grab a bottle of champagne, which he sprayed on the other crew members as well as the assembled guests. “Everybody in the world needs to see it,” Shatner continued. “This comforter of blue that we have around us. We think, Oh, that’s blue sky. And then suddenly you shoot through it, all of a sudden, like you whip off a sheet when you’ve been asleep, and you’re looking into blackness. Into black ugliness.” He began to gesture down and then up, speaking in the trademark cadences that are so fondly familiar to fans of his appearances as Captain James T. Kirk, the commander of the Starship Enterprise, on “Star Trek.” “There is mother and Earth and comfort, and, there . . .” He gestured into the air, squinting toward the sun. “Is—is there death? Is that death? Is that the way death is?” Bezos, a longtime Trekkie who had a cameo role as an extraterrestrial in the 2016 film “Star Trek Beyond,” nodded. “I mean, whatever those other guys are doing,” Shatner added, likely referring to Bezos’s billionaire competitors at SpaceX (Elon Musk) and Virgin Galactic (Richard Branson). “What you have given me is the most profound experience I can imagine.” His voice cracked, and Bezos hugged him again. “I hope I never recover from this,” Shatner said. —Neima Jahromi, The New Yorker Magazine, October 14, 2021 This exhibition brings together seven painters whose work explores real, fictional and imagined spaces: painterly space, psychological space, meditative space, geographic and cosmic space. In turns odd, melancholic, humorous, twee, breezy, sublime, and absurd, the works in the show share an attitude more than any unifying style or subject matter. Painting and its ability to resist legibility, to contain multitudes of conflicting emotions, to craft truths and lies, and to oscillate between medium and image, is one central concern. But more significantly each artist in this exhibition manipulates space in their own idiosyncratic and mysterious ways confounding illusions of depth with marks that rest right on the surface like jam, dismantling depth of field with clunky angles and knowing omissions, and theatrical op-art tactics that read like a formal joke. The paintings in this exhibition open up possibilities to hide things, to describe feelings, to locate desire, to dream, and to consider spaces beyond terrestrial limits. David Byrd (1926-2013) David Byrd joined the Merchant Marines as a teenager and was later drafted into the Army. A drawing enthusiast, he used his G.I. Bill to study at the Dauphin School of Art in Philadelphia, and then later continued his studies at the Ozenfant School of Fine Arts. In 1958, Byrd took a position as an orderly in the psychiatric ward of a VA Hospital where he cared for patients damaged by their experiences in WWII, the Korean War and the Vietnam War. For the next 30 years, Byrd’s paintings and drawings focused on his extraordinary and empathetic observations of those in his care, and their interactions with each other and staff. After Byrd retired in 1988, he settled in the Catskills and worked full-time painting from memory the people and places from his past. Stylistically, Byrd’s work bears influence from different art historical styles, including Cubism and Magic Realism. A luminous, dream-like haze suffuses detailed renderings of his subjects which combine realistic portrayals with fantasy and insert unsettling psychology into tranquil scenes. Subtle colors and a dry brush and thinned oil technique furthers a forlorn, melancholic tone in his paintings. His first solo exhibition was with Greg Kucera Gallery, Seattle in 2012, and he passed away only a few months later in 2013. Posthumous exhibitions include a two-person exhibition at Zieher-Smith & Horton (2015), and solo exhibitions at Fleisher Ollman Gallery, Philadelphia (2018) and White Columns and Anton Kern Gallery (2019). Owen Fu (b. 1988 Guilin, China; lives and works in Los Angeles, CA) Owen Fu’s paintings are both effortlessly informal and startlingly serious. Often depicting spaces that are dark, or just barely illuminated, they exist somewhere between confessional autobiography and spectacular fantasy, using avatar-like actors to depict desire, absurdist humor, common joy and aching loneliness. Ghosts, lamps, candles and barely-there faces further a sense of searching or worry as they dissolve into awkward homoerotic scenes, agrarian landscapes and diffuse backgrounds. Fu has Bachelor’s degrees in both Philosophy and Art, and an MFA from ArtCenter College of Design, Pasadena. Recent solo exhibitions include O-Town House, Los Angeles; Balice Hertling, Paris; and Mine Project, Hong Kong Ryan McLaughlin (b. 1980, Worcester, MA; lives and works in Worcester, MA) Ryan McLaughlin’s paintings are simultaneously poetic and graphic, incorporating fragmented text, bits of signage and singular pictograms. His pictures reveal built-up surfaces in a muted and Morandi-like palette, and errant flecks of color meet between planes, using chance to suggest off-register printing, pixelation and subtle 3D vibrations. Sharing visual strategies with currencies, manuscripts, and logos, McLaughlin’s work points obliquely to systems of visual information and value-making, with his own wry pictorial language. “Space” is also a recurring theme in a sub-series of his pictures. Recent solo exhibitions include the Atlanta Contemporary, Atlanta; Adams and Ollman, Portland, OR; and Kölnischer Kunstverein, Cologne. McLaughlin will have a solo exhibition at the gallery in Fall 2022. Dianna Molzan (b. 1972, Tacoma, WA; lives and works in Los Angeles, CA) Dianna Molzan is most well-known for her paintings that explore the supports and limits of painting as sculptural objects, however, some recent works evince an equally astute interrogation of flat pictorial logic. In recent paintings of doors and mirrors, brightly painted prop-like compositions are also symbolic images of public life and passages. With dramatic, pop color and optical effects, these works also evoke everyday pastimes like grooming and self-contemplation. As Molzan herself notes, “the mirror remains an essential element for transforming our animal selves into something more transcendent.” Recent solo exhibitions include Kaufmann Repetto, New York; the ICA Boston and The Whitney Museum of American Art. Her work is included in numerous public collections including the Hammer Museum, and LACMA, Los Angeles; SFMoMA; the ICA Boston; The Walker Arts Center, Minneapolis; and the Whitney Museum of American Art. Yu Nishimura (b. 1982, Kanagawa, Japan; lives and works in Kanagawa) Yu Nishimura makes paintings which echo the haziness of a fleeting memory. Using traditional painting techniques, the Kanagawa born artist blurs and records landscapes and scenes that are at once recognizable and dreamlike. Layers of faces, roadside views, forests, oceans, cars and animals rise from the muted ether of his landscapes, as if viewed from inside a swiftly passing train. Recent solo exhibitions include Dawid Radziszewski Gallery, Warsaw; New York, KAYOKOYUKI, Tokyo; and Galerie Crevecoeur, Paris. Nishimura’s work is included in many public collections including: X Museum, Beijing, The Rachofsky Collection, Dallas, M Woods Museum, Beijing, and the Kanazawa 21st Century Museum, Kanazawa. Adrianne Rubenstein (b. 1983, Montreal, Canada; lives and works in New York, NY) Adrianne Rubenstein’s vibrantly hued and impressionistic paintings draw equally from memory, cookbook illustrations and art historical referents. Armed with a personal sense of humor bordering on the absurd, her paintings have a frenetic and piled-on quality that resists formulaic and easy approaches to image-making. Free-spirited and confident mark-making, and a personal lexicon of eclectic symbols like hearts, broccoli, mugs, and fruit elicits strangely honest and transcendent moments suspended in paint. Recent solo exhibitions include Broadway Gallery, New York; The Pit, Los Angeles; Deli Gallery, Brooklyn; and Tif Sigfrids, Athens, GA. Tara Walters (b. 1990, Washington D.C., lives and works in Los Angeles, CA) Tara Walters makes large scale paintings using oil-based paints, pure pigment, and saltwater from the Pacific Ocean. Stained, rubbed, and subtly iridescent, Walters’ paintings combine swelling movement and transparency, optical effects that mirror her interest in celestial bodies, prismatic auras, and other sublime and romantic visions. Recent works depict gardens, secret gates (with skeleton keys), hot air balloons, butterflies, and hidden woodland creatures, imagery that is fantastic, magic and symbolic. Walters received a BFA from the Savannah College of Art and Design, Savannah, GA; and an MFA from the Art Center College of Art. Her recent solo show, Dropping In (Kristina Kite Gallery, Los Angeles) was included in Jack Bankowsky’s “Top Ten of 2021” for Artforum. JACKIE GENDEL + ADRIANNE RUBENSTEIN NOVEMBER 11 – DECEMBER 31, 2020 SOCO Gallery is thrilled to present an exhibition of new work by artists Jackie Gendel and Adrianne Rubenstein. This will be Gendel’s second exhibition with the gallery, and Rubenstein’s first. The exhibition is planned in conjunction with Tif Sigfrids, a contemporary art gallery based in Athens, Georgia. Works by Gendel and Rubenstein will be on view in both locations in an inaugural partnership of the two galleries. The exhibition includes works on canvas and on paper. Gendel’s recent work furthers a neo-modernist motif as a means of constructing a fiction between fragmented figure and crowd, women becoming architecture and automatons becoming bodies of unfixed age, time, location and gender. Gendel pushes the viewer to contemplate the relationships between them, highlighting the movement of her often female subjects through abstracted form. In one work featuring a large crowd of overlapping women, muted colors connect the figures, while specific details call attention to their various personas. Seen frequently in composite and profile views, Gendel’s figures challenge the cohesion of self and sociability. They appear caught in a history that may or may not exist. Gendel’s work challenges viewers to come to terms with a scene that may feel at once unfamiliar and yet recognizable. In a similar manner, Rubenstein’s work also evokes art historical references with its likening to Expressionism. Rubenstein distorts the familiar, painting scenes that challenge one’s understanding of the everyday. Through an intuitive process, Rubenstein repeatedly arrives at imagery that can make a head of Broccoli seem archetypal in its nature. In a recent Artforum review, Barry Schwabsky noted that "the faint resemblance her forms have to their original sources of inspiration may in itself be best testimony to the inner image's staying power, free association means more than resemblance." The paintings, when coupled with their titles, consistently reveal a dry wit that may subvert their almost childish emotional ebullience. Like any good joke, however, there is always a kernel of sincerity buried deep within the layers of every painting. Jackie Gendel (Houston, TX, B. 1973) Jackie Gendel received her BA from Washington University, St. Louis in 1996 and her MFA from Yale University in 1998. Since 2000, she has participated in numerous group shows and solo exhibitions including Thomas Erben, New York (2019, 2016), Pratt Manhattan Gallery (2017), Jeff Bailey, New York (2013, 2012, 2010, 2006), Loyal Gallery, Malmö (2012), Moti Hasson, New York (2008), and Mixture Contemporary Art, Houston (2004, 2002). Reviews of her work have appeared in Modern Painters, Artforum, The New York Times, Art in America, The New Yorker, Art Papers, and Hyperallergic, among others. The American Academy of Arts and Letters awarded Gendel an Academy Award in 2007. She participated in the Marie Walsh Sharpe Space Program in 2010, and was an artist-in-residence at the MacDowell Colony in 2005. She is currently an Assistant Professor of Painting at the Rhode Island School of Design. Adrianne Rubenstein (Montreal, B. 1983) Adrianne Rubenstein (b. 1983) received her BFA in 2006 from the Nova Scotia College of Art and Design and in 2011, her MFA from the San Francisco Art Institute. Recent solo exhibitions include Deli Gallery, Brooklyn, NY; Tif Sigfrids, Athens, GA; and The Journal, New York, NY. Her work has been featured in several group exhibitions both nationally and internationally, and Rubenstein has also served as curator for numerous shows. Her work has been featured in Artforum and The New York Times. Rubenstein currently works and lives in New York, NY. Margot Bergman Cabin Boy, Auntie Gladyce and Three More January 19th - March 2nd Organized by Adrianne Rubenstein Sigfrids / Howard's is pleased to announce “Cabin Boy, Auntie Gladyce and Three More” an exhibition of paintings by Chicago based artist Margot Bergman created between the years 2002-2012. The show will open with a reception on Saturday, January 19th from 4-6 PM and will remain on view through March 2nd. Bergman’s paintings from this time period are created on thrift store canvases, her brushwork mixed together with the found imagery creating dreamlike apparitions of the human form. The double authorship invites an easter-egg-like experience for the viewer which feels uncanny and sentimental. One sympathizes with the worthless and forgotten artifact but it acts here as a centrifugal force over which Bergman’s flower grows. Eyes, lips and a silhouette disguise and destroy the preexisting painting. Clearly defined features are body parts and point to the corporeal yet their indication feels slight, like layers of makeup or the masking of a photograph. Bergman acts in transgression of the original, creating another truer original which is also a container for the past. The paintings remind you of the forbidden aspects of drawing, furtive marks done in secret or where they are not supposed be. In “Cabin Boy” Bergman paints a flat round face in profile using the sunny blue sky to humor the background and foreground simultaneously. One eye with blue shadow over its lid and a perfectly modeled eyebrow float expansively above a dreamy looking domestic cabin encircled by freshly planted trees. Red lips are outlined over a slightly darker green shrub. The portrait is enclosed by two large trees crowning and a patch of sandy road is a shoulder or shirt. “Lulu”, “Beth Jo” and “Auntie Gladyce” are portraits painted atop other portraits. Little squinched faces peer out from between the eyes of the subjects, a single nose at the center anchoring all the unfolding features. The outer eyes appear to be tired as if from witnessing so much disintegration. In “Untitled (Flower Vase Portrait)” a potted plant has bloomed two shining eyes and a leaf with a smile. Bergman’s paintings are satisfying because they breach the protocol like a tear in the sky. They sit with you like candy stored in cheek, letting light enter their fallibility and making us feel better about our endeavor to categorize the sun and moon. Margot Bergman (b. 1934) has been an active member of the Chicago art scene since the 1950s. Recent exhibitions include ‘Thank You for Having Me’ at Corbett vs. Dempsey, Chicago; ‘Body Doubles’ at the Museum of Contemporary Art, Chicago; and ‘Margot Bergman’, Anton Kern Gallery, New York, NY. Bergman will be the subject of forthcoming exhibitions at the Museum Langmatt in Baden Switzerland and the Folkwang Museum in Essen Germany. A substantial hardcover catalog will be published concordantly with Hatje Cantz. Adrianne Rubenstein (b. 1983, Montreal) is an artist and curator based in New York City. She received her BFA from the Nova Scotia College of Art and Design and her MFA from the San Francisco Art Institute. Curatorial projects include ‘Fort Greene’ at Venus, Los Angeles and ‘Geranium’ at Stems Gallery, Brussels. Solo exhibitions include ‘I Love Worms’ at The Pit, Los Angeles, and ‘The Forest Floor’ at Cooper Cole, Toronto. Rubenstein has been the Director at CANADA, New York, since 2014. With special thanks to Margot Bergman and Corbett vs. Dempsey. Sigfrids/Howard's 119 North Jackson Street Athens, GA 30601 Beaded Talisman for Unwell Daughter Annelie McKenzie December 15 2018 – February 3, 2019 Opening Reception Saturday December 15, 2018, 6 – 9pm Fisher Parrish is pleased to present Beaded Talisman for Unwell Daughter, a solo exhibition of new works by Los Angeles based artist Annelie McKenzie, organized by artist and curator Adrianne Rubenstein. Works - link A path exists among these works that beckons to the history I actually want to be a part of. The appropriation is utterly appropriate. The tableaux themselves are like vignettes from within a story, and let’s say that book is a bit archaic, and the scenes feel as if you’re discovering them by candlelight. You were sleeping in a dimly lit auditorium, spiderwebs accumulating along the ceiling; there was a brief discussion of female artists. Beaded Talisman for Unwell Daughter is a painting of a woman jaundiced from illness, her face a donut slathered in custard creme—a detailed prop among frilly blankets. The subject of the work is Anna Alma Tadema, a British artist from a family of artists, born in 1867 and deceased in poverty and obscurity in 1943. Tadema is remembered as a subject from within her more famous father’s paintings, although he died forgotten and penniless too. The basis for McKenzie’s painting is an exquisitely detailed self-portrait, a watercolor which somehow survived, and a cryptic memento—a finite collapsing of past and present. McKenzie’s work is brazen and brash and addresses its subject obliquely, informatively. She is a detective, but isn’t cool or slick about it. Her works are painted on purses and cocktail pouches, the likes of which may have held lipsticks and tranquilizers. Among sequences of pastoral bliss, not that those are ever quite what they seem, McKenzie addresses paintings so historic that one can recognize them by the heft of their weaponry. Her version of Artemesia Gentileschi’s ‘Jael and Sisera’, painted in pinks on a cream colored clutch, features bodies with marbleized flesh and a chemically hued background of tinted crimson. The sequins feel like a botched version of pointillism, swapping exactitude for a quality of faded and stained lace. Tiny ersatz pearls line the scalloped exterior of the bag, framing the piece while camouflaging its zipper. The concept of purse as canvas stems from the artist’s observation that men don’t really like purses and so, it’s a witching spell that jokingly tells them to stay away. Gravely but with glee, McKenzie describes a history that has been abbreviated through misappropriation and a general lack of attention. Do you know that meme that says ‘We riot at midnight’ hidden in the body of a text about eyeliner? McKenzie’s paintings are a tribute to a great many such riots, inviting us to experience the joy and fascination of telling one’s story through the channels of the past. – Adrianne Rubenstein, November 27, 2018 Please join us for the opening reception of Beaded Talisman for Unwell Daughter on Saturday, December 15th, 2018 from 6 – 9pm. Regular gallery hours are Saturday and Sunday 1 – 6pm or by appointment. For further information, please email Zoe Fisher at info@fisherparrish.com. Annelie McKenzie (b. 1974, Montreal) earned an MFA from California State University, Long Beach, in 2013, and a BFA from the University of Calgary in 1997. She has exhibited at Contemporary Calgary (Canada), CB1 Gallery (LA), Torrance Art Museum (CA), VENUS LA (CA), and other spaces throughout the USA and Canada. McKenzie currently resides in Los Angeles. Adrianne Rubenstein (b. 1983, Montreal, QC) received her MFA from the San Francisco Art Institute in 2011. She lives and works in New York. Her curatorial projects include work with Night Gallery and Venus in Los Angeles, Stems Gallery in Brussels, Belgium, Fourteen30 Contemporary in Portland, OR, and Brennan & Griffin, Regina Rex and CANADA in New York, NY. Rubenstein has been the Director at CANADA, New York since 2014. The Pit is pleased to present Adrianne Rubenstein: I Love Worms. An opening reception will be held on September 9, 2018 from 4-7pm, and the exhibition will be on view through October 21, 2018. In her second one-person exhibition at The Pit, Adrianne Rubenstein will debut a suite of new paintings, which are some of her largest to date. Working in oil on panel, Rubenstein uses vibrant colors, direct form, and confident brushwork to depict raw memory in paint. Her paintings tell stories from her life, referencing moments from the just past and from long ago. In them, she is just as much a part of the subject matter as whatever it is she is painting, taking steadfast responsibility for her role as narrator. This vulnerability and resistance to neutrality allows Rubenstein to claim nostalgia not as an indulgence but as a powerful lens through which to view her place in and experience of the world. Rubenstein is equally comfortable referencing art history and art’s current moment as she is her catalogue of personal memories. While works like Abstract Painting are a response to present-day trends in contemporary art and her faceted position within her community as a painter, gallery director, and curator, works such as Ladder with Ribbons—an homage to Ree Morton, whose work has been an influence on Rubenstein—refer to art history and her formation as an artist. In her dreamlike yet vivid compositions, Rubenstein’s explorations of memory and musings on art emerge as markers of a practice rooted in feminism: the personal is political. Adrianne Rubenstein was born in Montréal, Canada in 1983 and lives in New York, NY. She received a Master of Fine Art from the San Francisco Art Institute, San Francisco, CA in 2011 and a Bachelor of Fine Art from the Nova Scotia College of Art and Design, Halifax, Canada in 2006. One-person exhibitions of her work have been presented at venues such as Reyes Projects, Bloomfield Hills, MI (2017); Fourteen30 Contemporary, Portland, OR (2017); White Columns, New York, NY (2016); and David Petersen, Minneapolis, MI (2016). Rubenstein’s paintings have been featured in thematic and two-person exhibitions including Out of Control, curated by Sally and Peter Saul, Venus Over Manhattan, New York, NY (2018); Permanent Embrace, with Walter Robinson, Stems Gallery, Brussels, Belgium (2018); Say Yes, curated by Kimia Ferdowsi Kline, Elaine L. Jacob Gallery, Wayne State University, Detroit, MI (2017); Feed the Meter I & II, Ceyson & Benetiere, Luxembourg (2015 & 2017); and Bunnicula, with Jennifer Sullivan, Marvin Gardens, New York, NY (2016). Rubenstein is an active participant in the international community of artist-run spaces and artist-driven curatorial initiatives, and she was awarded the Emerging Artist Grant from the Rema Hort Mann Foundation in 2016.
6840	dbpedia	3	54	https://artinthecatskills.com/category/art-history/	en	art history – Art in the Catskills	https://artinthecatskill…s-logo.png?w=200	https://artinthecatskill…s-logo.png?w=200	[ "https://artinthecatskills.com/wp-content/uploads/2020/02/art-in-the-catskills-logo.png?w=112", "https://artinthecatskills.com/wp-content/uploads/2021/05/hedda-sterne-chandelier-1945.jpg?w=750&h=773&crop=1", "https://artinthecatskills.com/wp-content/uploads/2021/01/japanese-fan-drawing-1.jpg?w=870&h=773&crop=1", "https://artinthecatskills.com/wp-content/uploads/2019/12/hyde-collection.jpg?w=870&h=534&crop=1", "https://artinthecatskills.com/wp-content/uploads/2018/10/the-virginia-project.jpeg?w=621&h=480&crop=1", "https://artinthecatskills.com/wp-content/uploads/2018/08/img_0959.jpg?w=870&h=773&crop=1", "https://artinthecatskills.com/wp-content/uploads/2018/01/peggy-guggenheim.jpg?w=870&h=773&crop=1", "https://artinthecatskills.com/wp-content/uploads/2017/10/cbn-head.jpg?w=870&h=773&crop=1", "https://artinthecatskills.com/wp-content/uploads/2017/02/bookcoverpreview-front.jpg?w=103", "https://artinthecatskills.files.wordpress.com/2023/07/book-cover.png?w=354", "https://artinthecatskills.com/wp-content/uploads/2020/02/cropped-art-in-the-catskills-logo.png?w=50", "https://artinthecatskills.com/wp-content/uploads/2020/02/cropped-art-in-the-catskills-logo.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2021-05-23T10:26:30-04:00	Posts about art history written by Admin	en	https://artinthecatskill…ls-logo.png?w=32	Art in the Catskills	https://artinthecatskills.com/category/art-history/	Category: art history Women Take Center Stage in Museums This Year As we’re coming out of the pandemic, 2021 appears to be a year dedicated to women in the arts as several museums and art centers in Europe and the United States are hosting programs devoted to female artists, far too long left out of the history books. When speaking with art historians and scholars, the often-cited reasons that left women behind were: they had no … Continue reading Women Take Center Stage in Museums This Year BOOK RELEASE: The Zadock Pratt Museum Coloring Book The Zadock Pratt Museum has just released a coloring book for adults, essentially a collection of historical quilts accompanied by text and drawings that provide a unique perspective of the region’s settlement history. Inspired by the 2018 exhibition titled “Undercover Stories,” the book was funded by The A. Lindsay and Olive B. O’Connor Foundation and The Nicholas J. Juried Family Foundation. The exhibition, the brainchild … Continue reading BOOK RELEASE: The Zadock Pratt Museum Coloring Book Featured Destination: The Hyde Collection The Hyde Collection Art Museum in Glens Falls, Warren County, includes a wide array of artworks and antiques – paintings, sculptures, pottery, books and furniture – spanning from the early Renaissance to modern and contemporary era. The collection was established by Charlotte Pruyn Hyde and her husband Louis Fiske Hyde, who acquired art from the Renaissance to the 19th century. Later on, the collection expanded … Continue reading Featured Destination: The Hyde Collection “How Art Is Made” Reviewed in A Time and A Place Magazine “David creates a seamless rapport with each artist, drawing out their individual personalities with meticulously researched questions. Her interviewing style is so natural and unobtrusive that the reader feels like “a fly on the wall” privy to the authentic, unrehearsed lives of the artists. They divulge their thought processes, creative developments, media, materials and muses, but David evokes them into sharing a glimpse of their … Continue reading “How Art Is Made” Reviewed in A Time and A Place Magazine Catskill Tri-County Historical Views Look for Catskill Tri-County Historical Views’ latest issue (June 2019) to read about Art in the Catskills and other cultural projects as well as the history of the region. Learn about “How Art Is Made: In The Catskills,” reviewed by Leslie T. Sharpe, “Picturing America: Thomas Cole and the Birth of American Art,” reviewed by Elizabeth B. Jacks, “Mohonk and the Smileys: A National Historic … Continue reading Catskill Tri-County Historical Views Zadock Pratt: The Man, The Town & The Nation Zaadock Pratt Museum in Prattsville, NY (Greene County) will open for the season Saturday, May 25 with Zadock Pratt: The Man, The Town & The Nation, an exhibit whose focus is on Zadock Pratt, the private individual. The exhibit includes 19th century oil paintings and maps, as well as 20th century artworks in oil and pastel, exhibit text and photographic panels, and a hand-out explaining Pratt’s contributions … Continue reading Zadock Pratt: The Man, The Town & The Nation Chagall in High Falls – The Virginia Project Famed Surrealist painter Marc Chagall, known for works such as I and the Village (1911), Paris through the Window (1913), and Green Violinist (1923), lived and worked in High Falls between 1946 and 1948, producing a significant number of works. At that time, Chagall was accompanied by his lover Virginia Haggard, an artist in her own right, her young daughter from a previous marriage, Jean … Continue reading Chagall in High Falls – The Virginia Project At Blink Gallery BLINK GALLERY AUGUST 19, 2018 Continue reading At Blink Gallery Books We Love: Peggy Guggenheim, The Shock of the Modern by Francine Prose Peggy Guggenheim: The Shock of the Modern (2015) By Francine Prose, Yale University Press, 211 pp. Best-selling author Francine Prose, known for nonfiction titles like Anne Frank: The Book, The Life, The Afterlife, and Reading Like a Writer, wrote a heartfelt biography of Peggy Guggenheim, influential art collector, and early promoter of Modernism in America. Well-ahead of her time, Peggy developed a taste for … Continue reading Books We Love: Peggy Guggenheim, The Shock of the Modern by Francine Prose
6840	dbpedia	2	18	https://shelleysackett.com/2024/05/	en	InSights	https://s0.wp.com/i/blank.jpg	https://s0.wp.com/i/blank.jpg	[ "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-003-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-032-scaled-1.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-154-copy-scaled-1-735x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Toni-Stone-HTC-05-24-167-copy-scaled-1-683x1024.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Blueys_Big_Play_22-12-20_Opening_Night_Review_Pics_0017-1024x576.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void-1024x780.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void1-1024x758.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void2-1024x744.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/Touching-the-Void3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley1-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley2-1024x819.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley3-1024x768.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/05/alvinAiley-1-1024x717.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_canvas.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Star-of-David-NecklaceJPG-231x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p11_Addis-Neger-400x400.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p3_JCC-film-fest.jpg", "https://jewishjournal.org/wp-content/uploads/2024/05/p12_dybbuk2.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0035-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0065-edited-scaled-1-1024x683.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0326_WEB_ONLY_DO_NOT_PRINT.jpg", "https://www.theatermirror.net/theatermirrortest/wp-content/uploads/2024/04/Strange_Loop_0173-edited-scaled-1-1024x683.jpg", "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	[ "Shelley A. Sackett" ]	null	8 posts published by Shelley A. Sackett during May 2024	en	https://s1.wp.com/i/favicon.ico	InSights	null	By Shelley A. Sackett Toni Stone, the subject and title of playwright Lydia R. Diamond’s new drama, has one helluva story to tell. As played by the pitch-perfect Jennifer Mogbock, she is also one helluva terrific storyteller and more than up to the task of narrating the events of her remarkable life. Which is a good thing, because “Toni Stone,” now at the Huntington, ran almost three hours (with a long intermission and delayed start) on opening night last Wednesday. Even before the house lights have dimmed, Collette Pollard’s exciting set has placed us smack in the middle of a baseball field, surrounded by bleachers, scoreboards and night lights. Mogbock, a spitfire of energy and physicality, practically leaps onto the stage. A ball rolls slowly on the ground towards her, and she bends down to pick it up. “The weight of the ball in the hand and the reach,” she announces matter-of-factly as she tosses it in the air. “What this is is what boys are to that girl. This is what I need.” This — baseball in all its statistical, scientific, and athletic glory — is also what she knows, “maybe better than that girl knows boys.” Disarming, genuine, and boundlessly enthusiastic, Stone shares her life’s highlights, from her birth in West Virginia to growing up in St. Paul, Minnesota, to becoming the first woman to play baseball in the Negro Leagues. Every step of the way, her single-minded determination to achieve her dream of playing professional baseball lit her path. Overcoming daunting racial and gender barriers, she landed the second base roster spot with the Indianapolis Clowns, taking Hank Aaron’s place when he moved up to the majors in 1953. Stone’s job, she tells the audience, is to tell her story so history doesn’t forget. The audience’s job, she implies, is to remember it. And to pass it on. With that, the rest of the team bursts onto the stage. Stone introduces them one by one, and then they perform the first of several fabulous dance/acrobatic acts (choreographed by Ebony Williams with original music from Lucas Clopton). These top-notch numbers are a welcome break from the sometimes long stretches of dialogue and give the cast a chance to break loose and shine. Mogbock is the only woman in the 11-member ensemble, and the ten actors take on individual characters as well as Clown teammates. As Millie, a prostitute who befriends Stone and tries to instill some femininity into the baseball-statistic-obsessed tomboy, Stanley Andrew Jackson is a sublime showstopper. Others play Stone’s parents, manager, coach, and husband. With a simple announcement (“He’s white”) and hand gestures, the all-Black cast also takes on white racist characters in subtle but dramatically powerful ways. Through sometimes chronologically disjointed scenes, Stone connects the dots of her personal timeline and, along the way, emotionally connects with the audience. By the end of the play, we don’t just know Stone; we adore her. She is a complex character, as insecure and flighty socially and intellectually as she is confident and down to earth about her knowledge of and ability to excel at baseball. As an athletically gifted kid in St. Paul, she excelled at every sport she tried. When her mother steers her towards more “ladylike” sports like figure skating (cute skirts), she easily wins the top city-wide competition and then begs to go back to the sport she really loves. She hated school both because she was bored and because the teachers pigeon-holed her as mentally impaired, misunderstanding her inability to process social cues and making her feel even more isolated and alone. (“When someone tells you there’s something wrong with your mind, you believe them,” she explains). Yet, there’s nothing wrong with her mind when she’s thinking about a topic that interests her. As she argues with coaches about strategy, spouts baseball card statistics like an AI app, and describes baseball in terms that are poetic and metaphysical, she more than holds her own as confident, shrewd, and articulate. While Diamond keeps the story light and focused on Stone’s journey, she by no means avoids the harsh realities of racism and misogyny in the 1950s. Stone was shunned and harassed by many of her teammates and was deliberately trampled when defending second base by opposing team members who wanted to “take out that woman.” At the same time, she and her teammates share more than the same uniform. They are keenly aware that white team owners are using them both to make money and to make the white teams look superior by having them lose in rigged games. After all, and lest they forget their place, the team’s name, “Clowns,” is branded on their uniforms. Like the Reconstructionist era blackface minstrel “entertainment,” they are supposed to, above all else, entertain. “They know we know what they’re doing to us,” Stone says just as Act I ends. “But we still make them laugh.” Because that’s the only way a Black person or woman could play baseball in a white male world: by playing “their” game by “their” rules. And at the end of the day, the player’s desire to play ball is greater than their pride. The second act (thankfully shorter and tighter) covers a lot of ground. Stone marries and retires from baseball when she ends up spending more time sitting on the bench than playing. She spends a year being a good housewife and then becomes a nurse. Although Diamond drops the ball on dramatic pacing and content at the end, Stone’s words (and Mogbock’s flawless performance) leave the audience with a semblance of closure. “There it is,” she says, summing up her life’s story. “I did a thing. Between the weight of a thing and the reach, there is breath. And in that breath is life.” She pauses, looking straight at the audience and melting the proverbial fourth wall. “I reached.” ‘Toni Stone’ — Written and Directed by Lydia R. Diamond. Inspired by “Curveball: The Remarkable True Story of Tony Stone” by Martha Ackmann. Presented by the Huntington, in an arrangement with Concord Theatricals on behalf of Samuel French. At the Huntington Theatre, 264 Huntington Ave., Boston, through June 16. For more information and to buy tickets, visit https://www.huntingtontheatre.org/ “Bluey’s Big Play” — Story by Joe Brumm. Music by Joff Bush. Presented by BBC Studios and Andrew Kay in association with Windmill Theatre Co. at the Boch Center Wang Theatre. Run has ended. By Shelley A. Sackett It’s true what they say about grandparenthood — there is nothing like it. There are so many things you didn’t even consider doing when childcare duties sucked your days dry of time and energy. But now that those children are grown and have children of their own (and are willing to drive them to meet you at the theater!), the opportunity to not just attend but actually enjoy such events as “Bluey’s Big Play” are the payoff. Which I cashed in last Saturday with my Bluey-obsessed three-year-old grandson. We had a blast. The theatrical adaptation of the Emmy® award-winning children’s television series follows the Heeler family through a full day from sunrise to bedtime. Bluey and Bingo work to keep their dad, Bandit, from reading on his phone. Bluey and his mom, Chilli, talk about his being a good example as a big sister to Bingo. The 45-minute show is approximately as long as six regular “Bluey” episodes, which, although it seemed short by adult standards, was the perfect attention span bandwidth for the preschool crowd. When the lights first went down, a short section set to the familiar music of “The Weekend” with marionette bird puppets was a delight. A family of three birds enchanted with their charming dances and interactions. It was, frankly, magnificent. The puppetry was terrific, and the ambiance was magical, especially when a flock of smaller birds swept across the stage, creating shadows in the sky and on the walls. The audio track for “Bluey’s Big Play” was prerecorded by the voice actors from Bluey, and each character in the show was represented onstage by human-sized puppets. Each puppet requires at least one puppeteer to operate its facial expressions (eyes and eyebrows) and arms, while at times, a second puppeteer is needed for actions that control its legs and tail or to add and remove props from the puppet’s hands. Unfortunately, the puppeteers were very obvious, unlike the recent Daniel Tiger live show, where adults donned life-sized costumes. My grandson’s first comment was, “They’re stuffies (stuffed animals).” There was no mistaking this Bluey show for the real McCoy. Nonetheless, the plotline was easy enough to follow, the lessons important ones to take away. And the swag and free pre-show ice cream added a special touch. But the most special treats came after the story ended. Giant balloons were tossed into the audience and they made their way from row to row as kids (and their parents and grandparents) did quick catch and releases. The final extravagance were bubble cannons that shot geysers of bubbles into the air. Not one child — or adult — left the theater without a wide smile on their face. ‘Touching the Void’ — Based on the book by Joe Simpson. Adapted by David Greig. Directed by Danielle Fauteux Jacques. Scenic and Sound Design by Joseph Lark-Riley; Lighting Design by Danielle Fauteux Jacques; Movement Choreography by Audrey Johnson. Presented by Apollinaire Theatre Company at Chelsea Theatre Works, 189 Winnisimmet St., Chelsea, through May 19. By Shelley A. Sackett Touching the Void is special on so many levels. Presented in the intimate Chelsea Theatre Works theater, director Danielle Fauteux Jacques has done a brilliant job of creating multiple settings (including the side of a mountain in the Peruvian Andes!) with minimal fuss and to maximum effect. The four actors (Patrick O’Konis as Joe, Kody Grassett as Simon, Zach Fuller as Richard, and Parker Jennings as Sarah) are equally stellar, and David Grieg’s script is meaty and engaging. The real star of the play, and an unfortunate rarity these days, is the plot-driven narrative. It is based on climber Joe Simpson’s memoir of his near-death climbing experience, a thrilling and engaging story. There is even a surprise twist ending, which Jacques reveals in a deliciously sly and clever fashion after the curtain falls when the audience least expects it. Even before the play officially starts, the mood is set. A blond, sullen woman, clad in a leather jacket and boots strolls onto the stage. Her mouth is down-turned. She holds an unlit cigarette, sits alone at a booth in a casual pub, gets up to put a song on the jukebox, and sits down again. She nods, looks at the table, and sighs. Jennings is captivating; it’s not easy to stay in character in a vacuum. The effect, thanks also to Jacques’ spot-on lighting, is like a Hopper painting come to life. We learn she is Sarah, Joe’s sister. Joe, we also learn, is presumed dead. She has just come from his body-less wake. Enter Simon, who survived the climb, and Richard, the base camp manager. She insists on hearing the entire story of the climb, from its planning phase in this very “climbers’ pub” to the moment when Simon cut Joe loose, leaving him to perish in a crevasse. She wants to understand what drew her brother to take such a risk. She has to experience the climb as he did to do that because she doesn’t believe he is really dead. Simon and Richard agree to relive the journey with her, and their story, relayed through Sarah’s non-climber eyes, is an enormous one, packed with insight, triumph and peril. It’s also a golden opportunity for director Jacques and sound designer Joseph Lark-Riley to strut their stuff by turning the small stage from the pub to an Andean peak — complete with crunching snow and howling winds that whip the climbers like flags— and back to the pub again. We witness all this in hindsight and by the end, we share Sarah’s doubt about whether Joe really perished. (No spoilers, but the answer awaits over snacks and drinks in the lobby). Simon accommodates Sarah’s need to know how her brother lived, not just how he died. He shows her how to climb, painstakingly using chairs and tipped tables to improvise the feeling and rush of the climb. Only after she can relate on a visceral level does the storytelling begin. Back in 1985, Simon and Joe were experienced Alps climbing buddies who wanted to be the first to climb the West Face of the Andean Siula Grande mountain. Alpine style, which means without extra gear or yuppie brand name accoutrements. “Two men, a rope and the abyss. It’s beautiful, but it’s dangerous,” Joe explains. Accompanied to base camp by their site manager, the amusing and irritating navel-gazer, Richard, the two set off on their impossibly low-tech journey. They make it up, but on the descent, Joe shatters his leg and then disappears over a cliff. With rescue an impossibility and faced with freezing winds and certain death if he didn’t immediately begin his own descent, Simon makes a gut-wrenching decision. Act I ends with him cutting the rope that tethers him to his partner. Act II opens with Joe, alive, incredulously realizing his situation. He is as devastated by his physical problems of having a shattered leg and being at the bottom of a snow abyss as he is psychologically by the reality that his partner cut him loose to save himself. Suddenly, Sarah is by his side, coaxing him on, helping him inch his way out of this Dante’s frozen circle of hell. Is Joe hallucinating? Is Sarah imagining herself by her brother’s side? While the agony of Joe’s navigating his slow descent sometimes feels tedious and overdrawn, trust me — it will all make sense in the end. Touching the Void is an abundance of theatrical pleasures, most notably the performances by the four actors. As Joe and Sarah, Jennings and O’Konis are simply perfect. Fuller imbues Richard with just the right balance of goofiness and competence, and Grassett brings an arm’s length sang froid to Simon that leaves us guessing whether there might not be a few nefarious skeletons in his closet. If you enjoy theater that makes you think and inspires post-show conversation and debate, then this play is a must. Besides marveling at an inspiring production, you are guaranteed to leave wondering how this story could possibly be true. For more information, visit apollinairetheatre.com By Shelley A. Sackett There is always a special buzz in the air before the curtain rises on an Alvin Ailey American Dance Theater performance, but at Saturday’s matinee, the packed house was positively gaga with anticipation. They were not disappointed. For over two hours, the company thrilled its audience, leaving it enraptured and standing in a deafening ovation. Presented by Celebrity Series of Boston at the queenly Boch Wang Theatre, five performances offered three programs: “Ailey Classics,” and two programs featuring new productions by other choreographers. All ended with the full production of Ailey’s signature work, Revelations. “Ailey Classics,” Saturday afternoon’s three-act program, was a brilliant curation of excerpts from eight of Ailey’s jazzy pieces. The first dance, Memoria, is elegant and delicate. Ailey composed it in 1979 as a tribute to his deceased colleague, Joyce Trisler, and there is an otherworldly translucent quality to his choreography. The curtain rises on a Tiffany blue background, a soloist in a flowing white dress flanked by two male companions in purple pants and billowing white shirts. Keith Jarrett’s abstract “Runes” (Charlie Haden’s bass is delicious) adds to the drama and flow as the ensemble encircles and wanders through the triangle of the three principal dancers. The ghostliness of the costumes, beauty of the movement, and entrancing emotiveness of the soloist leaves the audience tingling. Movements II and III of Night Creature (1974) change the mood from ethereal to earthbound and earthy. Set to Duke Ellington’s snappy music, this piece featured Constance Stamatiou as a saucy, sexy flapper who sets the tone and commands our attention. Set in the night world of vintage jazz clubs, the piece is playful and steamy, a toe-tapping delight. A large ensemble struts, leaps and slinks through swing and jitterbug dance moves as they toy with each other and the audience. The star-burst finale is Ailey at his most brilliant. After a brief intermission, a Pu Pu Platter of bite-sized Ailey excerpts maintains the crackle and pop. Pas De Duke (1976) showcases Ellington’s infectious melodies and a charismatic couple, she dressed in a black vest and tight pants, he in a Travolta-worthy white suit. They are synchronicity personified as they cavort in front of a backdrop of pop art bubbles reminiscent of a lava lamp. The program continues with music that is conducive to narrative storytelling. Maskela Langage (1969; ‘Morolo’ by Hugh Maskela) is based on the music of the South African trumpeter Hugh Masekela. It is set in a bar—but the bar itself is in a kind of no men’s land. There is an element of sadness and despair in the way a hot mama dispassionately lures three men to dance with her. At the time he created the piece, Ailey apparently wanted to draw parallels between the era of South African apartheid and the race-induced violence of 1960s Chicago. Love Songs (1972; ‘A Song for You’ by Leon Russell) offers an emotional journey through love and longing, set to a song recorded by Donny Hathaway. Side lit against a black screen, the solo dancer is lyrical and poignant. With For ‘Bird’ — With Love- Excerpts 1 and 2 (1984), Ailey pays tribute to the great Charlie Parker, the now-legendary alto-saxophonist known familiarly as Bird and after whom the jazz club, Birdland, was named. With a disco ball, a big crowd of exotic dancers clad in sparkling beaded costumes and feathered headdresses, and music by Coleridge-Taylor Perkinson, Ailey magnificently recreates the Harlem jazz scene. The dancers, like characters in a musical number from a vintage era film, seem to emulate Parker’s style, swinging and glamming with smooth ease. Excerpt 2 is giddy pleasure, with costumes of red jumpsuits, tails and dancing stick, white suits and red dresses. It is color, joy, and the excitement of top-notch dancing. When Alvin Ailey started in 1958, he envisioned a company dedicated to enriching the American modern dance heritage and preserving the uniqueness of the African American cultural experience. Since then, his troupe has continued for 66 years with only three artistic directors, the most recent (Robert Battle) since 2011. Of its 32-member ensemble, many have been with the company for more than ten years. Stability and continuity are hallmarks of the Alvin Ailey company. So is ending its performances with Ailey’s 1960 masterpiece, Revelations. Even before the second intermission was over, the audience was writhing in anticipation. Like concertgoers who want to hear their musical idols sing the hit song they know all the words to, these Alvin Ailey groupies were primed and ready. With the first notes of the hauntingly beautiful spiritual “I’ve Been ‘Buked,” they were clapping. By the time the curtain rose a few moments later, they were cheering loudly. And for good reason. Ailey’s classic is a wonderous tapestry of universal themes, emotion, symbolism and — of course — mind-bogglingly exquisite dancing. No matter how many times I have seen it, it never gets old and it never gets boring because I always notice something for the first time. Revelations somehow manages to combine the comfort of greeting an old friend with the delight of discovering something new about them. Divided into three sections, the 36-minute piece was inspired by Ailey’s “blood memories” of growing up in rural Texas during the American Civil Rights Movement of the 1960s. “Pilgrim of Sorrow” is an appeal to God for relief from sorrow and destitution; “Take Me to the Water” represents baptism and the welcoming to the church as a full member; and “Move, Members. Move” depicts a traditional Southern Baptist church service. Four pieces in particular resonated on this most recent viewing. “I’ve Been ‘Buked” opens as a mass of dancers fitted together into a fluid triangle that rises and falls, a pulsating, breathing organism. I never cease to be amazed by the “wow” factor of this use of space and bodies and by the grace and plasticity of the dancers’ arms. “Fix Me Jesus” is a gorgeous duet that ends in a breathtaking arabesque. Three men race around the stage in “Run Sinner Man.” Their muscular moves against a backdrop of pink and red satanic flames heighten the feeling of frenzied entrapment. In “You May Run On,” those delightful fan-flicking congregational women are a swarm of bees, gossiping and forming fluid cliques. Like hens coming home to roost, they carry their milking stools and fans, plopping themselves down whenever and wherever they please. The effect is charming. Notwithstanding the above, Revelations really is a piece that must be experienced live to be understood and appreciated. Reading (and writing) about it is simply no substitute. Its passion and power are palpable. The choreography, with its thrilling athletic leaps, cheery jubilance and tender pas de deux, is peerless. Its ten individual dances, from “I Been ‘Buked” to “Rocka My Soul in the Bosom of Abraham,” are stand-alone masterworks. Strung together as a story that is both timeless and timely, it is a magnum opus that must be witnessed live — again and again. Just ask anyone who was at the Saturday matinee. Thanks to the Celebrity Series of Boston, Alvin Ailey American Dance Theater makes an annual visit to Boston. If you missed it this year, promise yourself you won’t make the same mistake in 2025. Alvin Ailey American Dance Theater. Presented by Celebrity Series of Boston. At Boch Center Wang Theatre through May 5. For more information, go to www.celebrityseries.org/ By Shelley A. Sackett SALEM – “Ethiopia at the Crossroads,” the impressive new exhibit at the Peabody Essex Museum through July 7, celebrates the extraordinary artistic traditions of Ethiopia from their origins to the present day. Co-organized by the Walters Art Museum and the Toledo Museum of Art, the sensory-rich show presents a collection of over 200 objects, ranging from antique painted religious icons, illuminated manuscripts, gospel books, coins, metalwork, and carvings to modern photographic, textile, and multimedia works by contemporary artists. As the first major touring exhibition to examine Ethiopian art in a global context, its curators wisely added many roadmaps that describe and illuminate this often-overlooked African nation’s contribution to the world. Seated in the Horn of Africa between Europe and the Middle East, Ethiopia has played a profound foundational role in the evolution of the region’s history, creativity, and cross-cultural exchanges over two millennia. It has the distinction – despite upheavals – of maintaining its independence as one of the only African nations to resist colonization. Religious art, in particular, emphasizes the outsized role Ethiopia played in the establishment and evolution of the three major Abrahamic religions: Judaism, Christianity, and Islam. Most striking is the place Judaism played in this mix. Prior to the arrival of Christianity, many people in Ethiopia practiced Judaism, perhaps linking back to the meeting of the Ethiopian Queen of Sheba and King Solomon of Israel in the 10th century B.C.E. Known as Beta Israel, the Jewish community in Ethiopia has persisted for over 2,000 years. Most of the Beta Israel community immigrated to Israel in the 1980s and into the 1900s when political destabilization, famine, and religious persecution threatened the country. Operations Moses (1984), Sheba (1985), and Solomon (1991) airlifted over 80,000 Ethiopian Jews to Israel. Nonetheless, the union between Sheba and Solomon yielded a line of Ethiopian kings that lasted until its last emperor, Haile Selassie, was overthrown by a coup d’état in 1974. In the 20th century, Jewish community members produced objects in diverse media that alluded to Ethiopia’s Jewish origins. Two large panels depict a graphic novel-type chronicle of the Queen of Sheba (known as the Ethopian Queen Makǝdda) and King Solomon conceiving King Mǝnilǝk I, the first ruler in a Solomonic line of Ethiopian kings. These epic works (vibrant tempera paint on cotton canvas mounted on board) detail Mǝnilǝk’s journey as an adult to Israel in order to meet his father, King Solomon. His envoy returned to Israel two years later, with the Ark of Covenant, a sacred relic containing two stone tablets inscribed with the Ten Commandments. That ark is said to be located in Ethiopia today, at a church in Aksum. Nearby is a silver necklace crafted by a Beta Israel artist. A stunning pillow sham, created by Yederesal Abuhay, depicts two rabbis and their students in front of a synagogue. In the 1990s through the 2010s, the North American Conference on Ethiopian Jewry created a work program for Ethiopian Jews living in Addis Ababa. With the support of this program, Jewish Ethiopian artists created basketry and textile objects, like this pillow sham that also can double as a Shabbat challah cover. PEM is known for its groundbreaking approach to exhibits, and “Ethiopia at the Crossroads” is no exception. An introductory video provides a panorama of the country’s majestic geography and local inhabitants, including a Jewish man wearing tefillin, kippah, and praying outdoors. A trio of scratch-and-sniff cards invites the visitor to inhale the scents of berbere, frankincense, and Ge’ez manuscripts representing the history and literature of the Ethiopian Orthodox Church. Audio-visual displays highlight Ethiopia’s unique sights and sounds and showcase members of the local Ethiopian diaspora community, which includes an estimated 12,000 people in the Greater Boston area alone. Most striking are the contemporary artworks. Multidisciplinary mixed media collages by Helina Metaferia feature women adorned in elaborate headdresses with messages of resistance and change. Six exciting photographs by Aïda Muluneh combine thought-provoking observations on multigenerational traditions and transitions among Ethopia’s women with a keen sense of design, color, and technical acumen. The first African woman to serve as a commissioned artist for the Nobel Peace Prize, Muluneh’s work questions assumptions about spirituality, mortality, divisions, and community. She draws inspiration from folklore, religious icons, and memories of her grandmother. “These photographs express what it is to be an African woman by encapsulating gender and identity as a celebration of contemporary self-expression. As the first contemporary Ethiopian artist to have her work acquired for PEM’s collection, Muluneh raises awareness of the impact of photography in shaping cultural perceptions,” said Karen Kramer, PEM’s Stuart and Elizabeth F. Pratt curator of Native American and oceanic art and culture. Θ For more information and tickets, visit pem.org. By Shelley A. Sackett MARBLEHEAD – Film fans of the North Shore and neighboring communities will be brought together once again by the International Jewish Film Festival and its carefully curated selection from around the world. Uniquely inspired by Jewish history, culture, and values, all films will be screened at Cinema Salem. Sponsored by Sharon and Howard Rich and Leslie and Bob Ogan, the 11th annual festival runs from May 2-23. Opening night tickets are $20 (includes popcorn and a drink) and closing night is $25 (includes an ice cream reception). All other screenings are $15 with discounted ticket packages available. Cochairs Izzi Abrams and Michelle Myerson and 14 committee members worked tirelessly to create a well-balanced lineup of 10 feature films. The lineup includes documentaries, a comedy, a political thriller, and several dramas set during the Holocaust. This year, there is also an evening of six short films. Four documentaries offer unique glimpses of Jews and Jewish life. “Remembering Gene Wilder” pays affectionate homage to the extraordinary actor and his legacy both on screen and off. Director and cowriter Glenn Kirschbaum will introduce the film and facilitate a Q&A after the screening. The film is scheduled for May 2 at 7 p.m. A humorous and nostalgic tribute to what became known as the Borscht Belt, “The Catskills” features interviews with former waiters, entertainers, and dance instructors, and the best shtick its renowned stand-up comedians can still offer. The film provides an historical overview of early 20th century Jewish immigration to New York and the development of this lavish vacation destination. (May 10, 1 p.m.) “Children of Peace” follows the personal stories of a group of dreamers who embarked on a utopian experiment in the 1970s, giving birth to Neve Shalom – a village envisioned as a model of harmonious coexistence between Arabs and Jews. This film delves into the experiences of the children who came of age in this extraordinary setting, and how they now – as adults – grapple with the harsh realities of political turmoil, war, and societal segregation. (May 15, 7 p.m.) Rounding out the doc category is “Call Me Dancer,” the story of Manish, a young Mumbai street performer who – despite the family and financial odds stacked against him – achieves his dream of becoming a professional dancer with the help of Yehuda Maor, an Israeli ballet teacher who takes him under his wing. (May 23, 7 p.m.) Three films set during the Holocaust focus on personal stories of both Jews and non-Jews. The sublimely shot and scored “Zone of Interest,” winner of the 2024 Academy Awards for Best International Feature Film and Best Sound, is loosely based on the 2014 novel by Martin Amis. It follows the banal and privileged existence of Auschwitz commander Rudolf Höss and his wife Hedwig as they build an idyllic life for their family in the 1940s only yards away from the prison camp and crematoria where atrocities are heard but never seen. (May 5, 7 p.m.) Based on the Cinderella folktale, “Stella. A Life.” is the story of a German-Jewish refugee who flees to Scotland in 1937 and, incognito, finds work at the country estate of a fascist noble, where she is accepted and even falls in love. Desperate to find her parents, Stella struggles with relationships, home, and identity. (May 17, 1 p.m.) On a similar note, “Love Gets a Room,” inspired by true events during the 1942 Nazi occupation of Poland, is the romantic story of a Jewish stage actress who must decide between staying with her lover and escaping the Warsaw ghetto. (May 22, 7 p.m.) On May 8 at 7 p.m., the festival switches gears with “A Night of Shorts,” a showcase of six exciting and thought-provoking short films from across the world, including the 2024 Academy Award nominated, “Letter to a Pig.” The political thriller, “Shoshana,” is inspired by real events. Set in 1930s Tel Aviv – then a new European Jewish city being built on the shores of the Mediterranean – romance, espionage, and violence converge to create a suspenseful and personal time capsule of that dramatic time in Israel’s history. (May 19, 1 p.m.) Finally, on lighter notes, two comedies complete the menu. “Yaniv” is a madcap and absurd tale that unpacks Jewish identity, male friendship, and public education – all in one lighthearted package. After funding is cut for the school musical, a high school teacher in the Bronx resolves to earn it back by recruiting a fellow statistics teacher (who is secretly a card counter and recovering gambling addict) to cheat at an underground card game run by the Hasidic Jewish community. Special guests Amnon Carmi (producer, director, and cowriter) and Benjamin Ducoff (producer, lead actor, and cowriter) will be joining live to introduce the film. (May 4, 1 p.m.) “No Name Restaurant” chronicles a whimsical road trip. When ultra-Orthodox Ben, from Brooklyn, sets out to rescue Alexandria, Egypt’s dwindling Jewish community, he finds himself marooned in the Sinai Desert. His last glimmer of hope rests with Adel, a gruff Bedouin in search of his lost camel. At first, they clash over cultural misunderstandings, until Adel’s broken-down truck unites them in a fight for survival. (May 14, 1 p.m.) Θ For more information and to buy tickets, visit jccns.org. Igor Golyak, founder and artistic director of Arlekin Players Theatre, was an 8-year-old growing up in Kyiv – then part of the Soviet Union – when his family gave him news that would change the trajectory of his life. They told him that he was Jewish. Because the practice of Judaism was suppressed by the state, Golyak had never even heard of Jews. His family moved to Boston in 1990 when he was 11 and – other than returning to Moscow to study theater after graduating from high school – he has called the area home since. In 2009, he founded Arlekin Players, a Needham-based company of mostly Jewish immigrants from the former USSR. It has risen to national and international acclaim, especially since the pandemic and the launch of its ground-breaking Virtual Theater Lab in 2020. The New York Times recently cited Golyak as “among the most inventive directors working in the United States.” Although Golyak has said he never thought he would be a “Jewish theater director,” the company has increasingly presented works that underscore themes of immigration, antisemitism, displacement, and Jewish cultural and religious identity. “It’s what’s happening in our world and in my community. I’m Jewish. These are things that I’m trying to understand. These ideas and questions have captured my attention, my imagination and, at least right now, is what’s compelling to me,” he told the Journal by email. Right after the Oct. 7 Hamas attack, Arlekin Players launched its Jewish Plays Initiative with the goal of shedding light on voices and stories that aren’t being heard; on pain points that are misunderstood; on ideas that are silenced; and on the “beautiful culture of a people that needs to be shared and celebrated.” “The Dybbuk,” its latest project, was adapted by Golyak and Rachel Merrill Moss and will celebrate its U.S. premiere in partnership with the Vilna Shul, Boston’s Center for Jewish Culture, from May 30 through June 23. Steeped in Jewish tradition, folklore, and mysticism, “The Dybbuk” – also known as “Between Two Worlds” – is one of the most widely produced plays in the history of Jewish theater. It was written in 1914 by the Russian S. Ansky and is based on the mystical concept from Hassidic Jewish folklore of the dybbuk, a disembodied human spirit that wanders restlessly until it finds a haven in the body of a living person. In Ansky’s work, a young girl’s father refuses to let her marry her lover, betrothing her to another more worthy suitor. The rejected suitor dies of heartbreak, and his spirit enters the body of his beloved. The two eventually reunite supernaturally. It is the account of two suspended souls trapped between two worlds, tethered to each other yet also displaced. To Golyak, the tale of these disoriented young people is particularly pertinent. “Isn’t this where we live? As Jews, as immigrants? It’s where we so often have lived as Jewish people for centuries: between worlds. It’s our story – ancient and mystical, the story of our ancestors, but also our story of living in America today,” he said. While researching “The Dybbuk,” Golyak learned that its original production in Poland was performed by the Vilna Troupe. When he visited the Vilna Shul in Boston for the first time last fall, he was struck by its history, architectural details, and layers of paint, murals, and Judaica. He could feel the company of several generations, from those Eastern European immigrants who built the shul at the turn of the last century to those who use the space today. As the only surviving landmark of Boston’s immigrant Jewish past, he knew it would be the perfect space to share “The Dybbuk.” Elyse Winick, director of arts and culture at the Vilna, hopes the audience will gain a deeper sense of the 1919 shul that is both a performance venue and a living museum. “This is a rare opportunity to synthesize those two aspects of our identity, deepening both the power of seeing the play and the significance of this extraordinary piece of Boston’s Jewish history,” she said by email. “For us, it is as if the souls of the Polish Vilna Troupe have taken refuge in the Vilna Shul and then come forward to share this tale,” Golyak added. Golyak’s professional and personal lives overlap, his Jewish identity informing both. In an October 2023 article for WBUR, he wrote in support of Israel and expressed shock at the silence from others in the theater world. “I don’t know if I am an American, or a Ukrainian, or if I am somehow an Israeli, but I know that I am a Jew,” he wrote. “The more we are hated, the more I feel I am a Jew.” He believes the theater is important as a place where people can experience others’ truths and wrestle with that exposure. “With war, brokenness, displacement, and a rise in antisemitism happening around us, I want to do plays that help us see each other and untangle how we do what we do as human beings,” he said. In a world where unexplainable hatred exists, he is concerned about his children and the future they may face. “They should be proud of their identity. They are part of a people who feel deeply, think wisely, laugh abundantly, innovate and invent, and will always gather and share food, music and stories,” he said. “They belong wherever they are. And no matter what, they can survive and thrive.” Θ For more information and to purchase tickets, visit arlekinplayers.com. By Shelley A. Sackett Playwright Michael R. Jackson, a heavy-set Black queer man, has brought the concept of sharing to a new level in his Pulitzer Prize and Tony Award-winning musical, “A Strange Loop.” The compulsively introspective show, which runs at 100 intermission-less minutes, spelunks into the deepest crevices of the anguished mind of its hero, Usher, a fat, Black, queer man writing a musical called “A Strange Loop” about a fat, Black queer man who’s writing a musical about a fat Black queer man. It’s a crawl through a wormhole rigged with armed psychological and emotional IEDs, self-loathing, and regrets. It’s also a raucous and playful musical, full of humor, harmony, colorful characters, and even more colorful (potty) language. The play opens on Jon Savage’s effective, slick set of eight cubes lit in Broadway blue neon. (The only guidance Jackson’s script offers is to describe the setting as “A loop within a loop within a loop inside a perception of one man’s reality.”) Characters meant to represent Usher’s thoughts stand inside each cube. They dance. They sing. The effect is a cross between “Shindig” and “Hollywood Squares.” We meet Usher (Kai Clifton) as the Thoughts dress him in his professional usher’s uniform. Usher works to make money in a theater where “The Lion King” reigns while he tries to write his play, a “big, Black, queer-ass, American Broadway show.” As he externally prepares to deal with the patrons who will soon flood the theater’s aisles, his mind is busy writing his play. He eagerly shares this work-in-progress with the audience. ““A Strange Loop” will have black shit! All thoughts. And white shit! It’ll give you uptown and downtown! With truth-telling and butt-fucking! There will be butt-fucking!” he belts out with gleeful forewarning. It’s as if Jackson and Usher want to tip off their audience, “This ain’t no Disney musical, and make no mistake, we aim to deliver,” which they do, especially on the last item. Usher leads a complicated inner life. His mind is a six-lane highway where Thoughts criticize, intimidate, denigrate, and insult his every move. Every time he resolves to dig himself out of his miserable routine, his thoughts disrupt and derail his plans. The supporting cast of Thoughts #1-6, donning eye-catching costumes (Becca Jewett), are a vicious gang representing Usher’s agent (Fairweather), his inner cynic (Your Daily Self Loathing) and a host of other unhelpful characters, most notably Mom and Dad. Through these inner/outer conversations between Usher and himself, Usher reveals his quest to peel back the layers of labels (Black, queer, etc.) and discover who he really is. We learn about all the issues he struggles with, including family pressures to ditch his sexual and professional preferences and embrace the Lord and style of Tyler Perry’s gospel melodramas; trying to figure out what it means to be a Black playwright writing a Black play; and struggling with what today’s world requires if one is to be “Black enough” and “gay enough.” He also is coping with the bull’s eye homophobia, fatphobia, racism, and a white theater industry painted on his back. All this should (and does) sound heartbreaking and overbearing. Yet, Jackson manages to pull off a musical that infuses humor and sincerity into a story replete with sadness, desolation, and rejection. Through seventeen songs, Jackson’s lyrics tell a multilayered story of Usher’s angst-ridden life. He longs for the unhampered freedom white girls have, yet also feels obligated to fulfill Black boy stereotypes (“Inner White Girl”). His doctor tells him he’s not gay enough because he’s only having sex once a year, but when Usher starts using dating apps, the result is predictably humiliating. He meets an engaging, flirtatious stranger only to discover he is a figment of his imagination. The list of disappointments and rejections grows longer. His mother calls him on his birthday to remind him homosexuality is a sin, and his father asks if he’s contracted AIDS yet. The best scenes, dramatically and musically, are those that have anything to do with Gospel music. When Usher’s agent tells him Tyler Perry is looking for a ghostwriter for his next gospel play, Usher turns up his nose in disgust. His Thoughts accuse him of being a “race traitor,” and in a hilarious scene, historical Black figures persuade him to take the job (“Tyler Perry Writes Real Life”). The full replication of a Tyler Perry set and lyrics that skewer Usher’s parents and parody Tyler (“Precious Little Dream/AIDS Is God’s Punishment”) are a welcome break. The actors’ voices (especially Clifton’s) awaken and strut their range and vibrancy. The lyrics are edgy and funny, the tune snappy and toe-tapping. With the exception of distracting and annoying technical problems with the sound mixing (the actors’ voices were frequently not mic’d) and muffled lyrics, the production is effective, from Maurice Emmanuel Parent’s thoughtful direction to David Freeman Coleman’s music direction and conducting. The six Thoughts shine individually and blend seamlessly as an ensemble. But it is Clifton as Usher who literally carries the weight of the show, and he is more than up to the task. Despite the temptation to wash our hands in frustration with this character who can’t seem to get out of his own way, his unfortunate circumstances notwithstanding), Clifton brings an underlying earnestness and likeability that make it impossible to abandon him. Plus, Clifton lets loose a powerful set of pipes during certain numbers (notably the gospel songs). It’s hard to understand Jackson’s real purpose in writing “A Strange Loop.” It takes its title from a Liz Pfair song and from Douglas Hofstadter’s scientific concept that when a person only moves up or down, they’ll end up where they started. In other words, no matter how far or fast they think they’re going, they are essentially marching in place. Jackson, now 43, said that although his play is not formally autobiographical, he began writing it as a monologue in his early 20s when he was experiencing himself as “nothing more than a mass of undesirable fat, Black gay molecules floating in space without purpose.” He wrote Usher as a 26-year-old under unimaginable pressure. He is full of self-doubt and self-loathing, yet compulsively writes about himself in the belief it will magically change him. The more he plumbs his inner self, the more guilt and shame he dredges up. If writing “A Strange Loop” was meant to be Usher’s psychological catharsis, it misses its mark. After all, Usher’s closing words are: “Someone whose self-perception is based upon a lie, Someone whose only problem is with the pronoun “I.” Maybe I don’t need changing Maybe I should regroup ’Cause change is just an illusion. If thoughts are just an illusion, then what a strange, strange loop.” And maybe that is Jackson’s point, after all. Inside his endless, strange loop of destructive thoughts and desperate hope that he can change who he is, Usher is his own worst enemy. Not only does he see himself as a failure, he assumes that everyone sees him as he sees himself. His illusions are negative delusions. It takes someone outside the loop—an impartial audience, for example—to appreciate that underneath this angsty, meek gay Black man beats the heart of a brave, creative person full of caustic wit and laser-sharp insight. We can only hope that Usher and all those suffering as he does can jump off the treadmill of self-doubt and fear, take a deep cleansing breath, and learn to love and accept themselves. ‘A Strange Loop’ — Book, Music and Lyrics by Michael R. Jackson. Directed by Maurice Emmanuel Parent. Music Direction by David Freeman Coleman. Choreographed by Taavon Gamble. Co-produced by SpeakEasy Stage and Front Porch Arts Collective at the Calderwood Pavilion, 527 Tremont Street, through May 25. For more information and tickets, visit https://speakeasystage.com/
6840	dbpedia	0	6	https://paintingz.com/repro-the-catskills-asher-brown-durand-161296.html	en	The Catskills	https://paintingz.com/me…a/1/6/161296.jpg	https://paintingz.com/me…a/1/6/161296.jpg	[ "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/1/6/161296.jpg", "https://paintingz.com/media/catalog/product/cache/34bbb8696bc90914125c43a0ff3036af/1/6/161296.jpg", "https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/161296.jpg", "https://paintingz.com/media/catalog/product/cache/ef13c17ed3c15917550275772fc3e19e/1/6/161296.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 The Catskills by Asher Brown Durand starts from $208.67. Make sizes from 12 by 15" 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-the-catskills-asher-brown-durand-161296.html	The Catskills is a work by American artist Asher Brown Durand (1796 - 1886). It's one landscape oil on canvas painting created in 1859. The painting is owned by Walters Art Museum - Baltimore, and is accessible to the general public. Asher Brown Durand was influenced by American Landscape, Romanticism, and Hudson River School, and made most paintings about landscape and portrait. For faithful reproductions, our artists will study the oeuvre and techniques of Asher Brown Durand. The original painting of The Catskills is about 50" wide and 62" high. You may customize the painting's size and frame, for décor or gifting, from 12" by 15" 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 The Catskills replica artwork.
6840	dbpedia	3	97	https://nbmaa.wordpress.com/category/hudson-river-school/	en	New Britain Museum of American Art	https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=200&ts=1723869777	https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=200&ts=1723869777	[ "https://nbmaa.wordpress.com/wp-content/uploads/2013/07/cole-thomas-the-clove-catskills-1826.jpg?w=300&h=210", "https://nbmaa.wordpress.com/wp-content/uploads/2012/04/west-rock-branches-2.jpg?w=195&h=300", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/ColeThomasTheCloveCatskills1826.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/Chadwick_Milstone.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/durand_SundayMorning.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/LaneFitzHenryWreckoftheRoma1846.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/ColeThomasTheCloveCatskills1826.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/Church_Parthenson.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/TheArchofConstantine.jpg", "https://i0.wp.com/i773.photobucket.com/albums/yy11/CuratorialIntern/Durand_HighPoint.jpg", "https://live.staticflickr.com/8338/8200571330_825b407036_s.jpg", "https://live.staticflickr.com/8480/8200571402_a498458108_s.jpg", "https://live.staticflickr.com/8337/8200571460_8e4c8ed060_s.jpg", "https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Hudson River School written by nbmaa and curatorialintern	en	https://secure.gravatar.com/blavatar/21de2c3671097563f4c64352d9e091342e7b4735e67bf5f9d04a34c19dbba51e?s=32	New Britain Museum of American Art	https://nbmaa.wordpress.com/category/hudson-river-school/	This post comes to us from Rena Tobey, Curatorial Intern. The long summer days are here, and your thoughts may have turned to spending some time in nature, sketchbook in hand. Another alternative is to visit the Henry & Sharon Martin Gallery at the Museum. Here, you can immerse in nature as close by as New Haven and as far away as the California. In the 1800s, the Hudson River School artists traveled to their favorite scenic spots in the Catskill, Adirondack Mountains and beyond, seeking out the same scenery we enjoy today. Over the winter months in their studios, they transformed their sketches into luminous landscapes that had come to represent America and its abundant natural resources. Thomas Cole, the founding father of the Hudson River School, imbues the land with even more power. He inserted symbols and figures that represented philosophical ideas he hoped would sway his viewers’ beliefs and actions. Cole came to the United States at 17 from industrialized England. He knew first-hand how modernization and urbanization could devastate open space and pollute cities. When he made his first trip up New York’s Hudson River in 1825, he was awed by the vast beauty of the land that was on the cusp of change. He believed Americans were at a decision-point. What would the future be like in this land? What the artist actually saw and what he chose to paint present the different choices. In 1807, the steamboat was invented, changing the navigation of rivers. Now, timetables, not the wind and tides, dictated travel. Maybe you’ve taken a daytrip during the weekend to break the routine of your life. Two hundred years ago, people were no different. They seized the opportunity to get out of New York City and into nature—for a picnic, a stroll in the woods—and still get back home the same day. (more…) Read Full Post » As the year slowly comes to a close we begin to experience the last hints of autumn as winter settles in. The cool crisp air, the changing leaves, the ripe apples, pumpkins, and seasonal holidays are all upon us. We also begin to see the changes in landscape. Autumn brings a variety of color out of nature that has inspired artists for centureis, especially the artists of the Hudson River School. Reds, greens, browns, blues, pinks, and oranges are frequently found in their landscapes. The sensation of hiking through a mountain, walking on a trail, having a picnic with friends, and being outside for the last time before the bitterness of winter hits is often captured in these Hudson River masters’ artworks. (more…) Read Full Post »
6840	dbpedia	1	77	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.antiquesandt…8/lead-thumb.jpg	https://www.antiquesandt…8/lead-thumb.jpg	[ "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	1	20	https://www.questroyalfineart.com/artist/sanford-robinson-gifford/	en	Sanford Robinson Gifford	https://www.questroyalfi…rd-1823–1880.jpg	https://www.questroyalfi…rd-1823–1880.jpg	[ "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/2024/06/SS24.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-A-Path-in-the-Mountains-768x1096-square-45dfb3324a1e6f00006ba6c9f1a5f3d7-.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-A-Sketch-of-DerWentWater-768x526-square-32c9e15060e4e522ab650ce29691f856-.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-Mount-Etna-from-Catania-1868-768x445-square-75ce48699b9c070c6f83fccee9f12585-.jpg", "https://www.questroyalfineart.com/wp-content/uploads/bb-plugin/cache/Gifford-Mariana-Grande-Capri-with-Figures-1857-768x748-square-da83d5ac92cc5cda9066492682cb29ab-.jpg" ]	[]	[]	[ "" ]	null	[]	2023-11-28T13:30:37+00:00	Prominent Luminist Hudson River School painter By Amy Spencer Defining the salient characteristics of the second-generation Hudson River School, Sanford R. Gifford’s luminist style effectively evoked both the subtle and dramatic effects epitomized by landscape painting in nineteenth-century America. I. Biography The second-generation Hudson River School painter Sanford Robinson Gifford was a master at depicting…	en		Questroyal Fine Art	https://www.questroyalfineart.com/artist/sanford-robinson-gifford/	Prominent Luminist Hudson River School painter By Amy Spencer Defining the salient characteristics of the second-generation Hudson River School, Sanford R. Gifford’s luminist style effectively evoked both the subtle and dramatic effects epitomized by landscape painting in nineteenth-century America. I. Biography The second-generation Hudson River School painter Sanford Robinson Gifford was a master at depicting light and atmosphere in landscapes. As the only painter among his contemporaries to be born and grow up in the heart of the Hudson River Valley, Gifford had a special affinity for the mountains, valleys, and rivers of the region. Over the course of his career he also traveled extensively around the Catskill, Adirondack, and White Mountains, and ventured abroad on painting trips throughout Europe and the Middle East. This contrasting subject matter demonstrated his skill at depicting various ambient atmospheres with sincerity, charm, and realism. Sanford Robinson Gifford was born in Greenfield, New York. He spent his childhood in Hudson (on the Hudson River south of Albany) where his father operated iron foundries and a bank. Coming from a reasonably wealthy family allowed Gifford the freedom to pursue his artistic endeavours unhindered by commercial incentives and trends. From 1842 to 1844, Gifford attended Brown University in Providence, Rhode Island, before moving to New York City to become an artist. Gifford trained to become a portrait and figure painter by studying drawing, perspective, and anatomy under the direction of the British watercolorist John Ruebens Smith. He also took drawing classes at the National Academy of Design and studied the human figure in anatomy classes at the Crosby Street Medical College. As a student Gifford developed solid skills at figure drawing; however, a sketching trip in 1846 to the Catskills and the Berkshires led to his focused interest in landscape painting. He later explained the profound significance of this trip to a friend: “Having once enjoyed the absolute freedom of the landscape artist’s life, I was unable to return to portrait painting. From this time my direction in art was determined.”[1] After this seminal trip, Gifford returned annually to experience the “absolute freedom” of the Catskills, White Mountains, Shawangunk Mountains, and Adirondack Mountains every summer for the next nine years. His companions on these trips included the artists Samuel Colman, Benjamin Champney, Alfred T. Ordway, and Aaron Draper Shattuck. In 1847 some of Gifford’s first works were exhibited by the American Art Union. The same year Gifford exhibited his first landscape at the National Academy and submitted work almost annually thereafter. He was elected an associate of the Academy in 1851 and a full Academician in 1854. In the summer of 1855 Gifford visited England, where he studied the glowing atmospheric effects in J.M.W. Turner’s work at London’s National Gallery; he also discussed Turner’s work with the art critic John Ruskin. He then visited Scotland, France, Belgium, Holland, Germany, Switzerland, and Italy. In the autumn of 1856 Gifford rented a studio in Rome where he painted his largest, and one of his most famous, works Lake Nemi (1856–57; Toledo Museum of Art). He exhibited Lake Nemi at the National Academy the same year. This work, with is depiction of radiant sunlight and hazy atmosphere, marks the crystallization of Gifford’s achievements in Europe and heralds the beginning phase of his mature style. During the spring of 1857, Gifford spent time sketching with William H. Beard, Albert Bierstadt, and T. Worthington Whittredge. He then took a walking tour of southern Italy with Bierstadt in May, before ending his European tour with a trip to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin, and Paris. Gifford returned to America at the end of the summer in 1857. He rented studio Number 19 in the Tenth Street Studio Building in New York City, where his studio neighbors included Bierstadt, Frederic Edwin Church, John Frederick Kensett, William Hart, Jervis McEntee, and Whittredge. Gifford retained this studio for the next twenty-three years working in it during fall, winter, and spring, then spending most of his summers traveling in Northeastern locations such as those along the Delaware, Chenango, Susquehanna, Chemung, and Hudson rivers. During the Civil War Gifford served in New York’s Seventh Regiment of the National Guard, which was based in New York City. He continued to paint throughout the war and his reputation grew rapidly with the production of landscape masterworks such as Gorge in the Mountains (Kauterskill Clove) (1862; Metropolitan Museum of Art), and historic wartime scenes including Bivouac of the Seventh Regiment at Arlington Heights, Virginia (1861; whereabouts unknown) and Camp of the Seventh Regiment, near Frederick, Maryland, in July 1863 (1864; Seventh Regiment Fund, New York). Gifford’s professional success during these years was deeply marred by personal tragedy; his brother Charles committed suicide in 1861, and his brother Edward died in conflict in 1863. During the summer of 1867, Gifford spent most of his time painting on the New Jersey coast, specifically at Sandy Hook and Long Branch. The next year, the artist returned to Europe. He visited London and Paris again with his close friends McEntee and McEntee’s wife. He then spent the summer visiting the Alps and Sicily before wintering in Rome with the McEntees, his sister Mary, Church and his wife. In January 1869 Gifford embarked on a two-month excursion down the Nile in Egypt, visiting Alexandria and Cairo. He then travelled through the Middle East with a group of Americans, visiting Syria, Jerusalem, Samaria, Damascus, Greece, and Turkey. During his travels Gifford painted monuments such as the pyramids and the Colossi of Memnon; however, most of his paintings from this trip are Nile River scenes. Gifford returned to continental Europe via Beirut, Greece, Istanbul, Budapest and Vienna. He then spent six weeks in Venice over the summer before returning to the United States in September. In 1870 Gifford took advantage of the newly connected railways to visit the Rocky Mountains with fellow artists Whittredge and Kensett. They accompanied a United States Geological party under Dr. Hayden in the exploration of Wyoming, Utah, and the Colorado territories. Gifford took a second trip west in the summer of 1873, visiting California, Oregon, British Columbia, and Alaska. During the last decade of his life, Gifford continued to travel extensively around the northeastern region of America and into Canada. He married Mary Cecilia Canfield, an old school friend, in 1877. While on a fishing trip at Lake Superior in 1880 he contracted a respiratory ailment, returned to New York City, and died shortly after at age fifty-six on August 29. Gifford was eulogized at a memorial meeting of the National Academy of Design and buried in the Gifford family plot in Hudson, New York. In November 1880 Gifford was posthumously honored with the Metropolitan Museum of Art’s first monographic retrospective in its new Central Park building. In 1881 the museum published the Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A., which documents 735 of Gifford’s works. This tribute by the Metropolitan Museum was especially fitting as Gifford had been among one of fifty prominent New Yorkers to draft the museum’s original resolution for the municipal art institution. Gifford’s paintings are held in the esteemed collections of the Museum of Fine Arts, Boston, Whitney Museum of American Art, Smithsonian American Art Museum, National Gallery of Art, and the Metropolitan Museum of Art.[2] II. Chronology 1823 Sanford Robinson Gifford is born in Greenfield, Saratoga County, New York, the fourth of eleven children to Elihu and Eliza Starbuck Gifford; as an infant moves with his family to Hudson, New York 1830 Attends school at the Hudson Academy until 1842 1842 Attends Brown University for two years 1845 Moves to New York City to study drawing, perspective and anatomy under English artist John Reubens Smith; takes a drawing trip through New York, Massachusetts, and Connecticut; visiting the Catskills and the Berkshires 1846 In the summer returns to the Catskills and the Berkshires; studies at the Antique School and at the National Academy of Design 1847 Has first painting, Lake Scene, on the Catskills (c.1846), exhibited at the National Academy of Design (submits his work almost annually hereafter); studies the human figure in anatomy classes at the Crosby Street Medical college; visits the Catskills in August 1848 In the summer travels through the Adirondack Mountains and returns to the Catskills 1849 Sketches with Henry Ary in the Catskills and travels on the Hudson River between Albany and Glens Falls 1850 Elected an associate of the National Academy; takes a trip to the White Mountains in New Hampshire, and to Milwaukee, Wisconsin 1851 Sketches in the Adirondack Mountains with Eliphalet Terry, Richard W. Hubbard, and his older brother Frederick 1852 Travels around Pennsylvania, also returns to Hudson and visits Philadelphia 1854 Elected a full academician of the National Academy; sketches in New Jersey and Maine, and visits an artists colony in Saco Valley, New Hampshire 1855 In summer sails to England, where in London he visits the National Gallery, Royal Academy of Art, and Society of Painters of Water Colors; takes summer sketching trips around England and Scotland before sailing to Paris 1856 Rents a studio in Rome where he paints Lake Nemi (1856–57; Toledo Museum of Art), his largest-known work 1857 During the spring meets fellow American artists Worthington Whittredge, William H. Beard and Albert Bierstadt; in May takes sketching trip with Bierstadt through southern Italy; ends his European tour with a visits to Innsbruck, Munich, Vienna, Prague, Dresden, Berlin, and Paris; returns to New York in September and rents a studio number 19 at the Tenth Street Studio Building where Bierstadt and Frederic Church are his neighbors (he retains this studio until his death) 1858 Travels to Vermont with painter Jerome Thompson 1861–63 During the Civil War serves in the Union Army with the Seventh Regiment of the New York Militia stationed in defense of Washington D.C. 1861 Brother Charles commits suicide at the war’s outbreak 1863 Brother Edward dies in conflict 1867 Spends the summer in New Jersey painting the coast at Sandy Hook and Long Branch; represents American art at the International Exposition in Paris with painting Hunter Mountain Twilight (1866; Terra Foundation of American Art) along with Winslow Homer’s Prisoners from the Front (1866; Metropolitan Museum of Art) 1868 Makes final journey to Europe with Jervis McEntee and his wife; spends the summer visiting the Alps and Sicily before wintering in Rome 1869 Travels to Egypt where he takes a two-month boat voyage from Cairo down the Nile River; travels to the Middle East with Alfred Craven via the Suez Canal, where his itinerary includes Syria, Jerusalem, Samaria, Damascus, Greece and Turkey 1870 After returning to America takes a trip to Colorado with Whittredge and Kensett 1872 Serves as a pallbearer at Kensett’s funeral 1873 Visits California, Oregon, British Columbia and Alaska 1877 Marries Mary Canfield, a widow 1880 While on a fishing trip at Lake Superior contracts a respiratory ailment, returns to New York City, and dies shortly after at age fifty-six; has the first monographic retrospective to be held at the Metropolitan Museum of Art 1881 The Metropolitan Museum of Art publishes A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A., which documents 735 of Gifford’s works III. Collections Addison Gallery of American Art, MA Adirondack Museum, NY Albany Institute of History and Art, NY Amherst College, Mead Art Museum, MA Amon Carter Museum, TX Art Complex Museum, MA Art Institute of Chicago, IN Ball State University Museum of Art, IA Baltimore Museum of Art Brooklyn Museum Butler Institute of American Art, OH Century Association, NY Chazen Museum of Art at the University of Wisconsin, WI Cheekwood Botanical Garden and Museum of Art, TN Chrysler Museum of Art, VA Cleveland Museum of Art Colby College Museum of Art, ME Columbia County Historical Society, NY Columbus Museum, GA Corcoran Gallery of Art, Washington DC Currier Gallery of Art, NH Dayton Art Institute, OH Detroit Institute of Arts Everson Museum of Art of Syracuse and Onondaga County, NY Farnsworth Art Museum, MA Figge Art Museum, IA Fine Arts Museums of San Francisco Fogg Museum at Harvard University, MA Frances Lehman Loeb Art Center at the Vassar College, NY George Walter Vincent Smith Art Museum, MA Hood Museum of Art at Dartmouth College, NH Hunter Museum of Art, TN Indiana University Art Museum Los Angeles County Museum of Art Metropolitan Museum of Art Montclair Art Museum, NJ Munson-Williams-Proctor Institute Museum of Art, NY Museum of Fine Arts, Boston Museum of Fine Arts at Brigham Young University, UT Museum of the City of New York Nashville Parthenon, TN National Gallery of Art, Washington DC New Britain Museum of American Art, CT New-York Historical Society New York Public Library New York State Military Museum and Veterans Research Center Newark Museum, NJ North Carolina Museum of Art Oakland Museum, CA Palmer Museum of Art at Pennsylvania State University Parthenon, TN Pennsylvania Academy of the Fine Arts Philadelphia Museum of Art Picker Art Gallery at Colgate University, NY Phoenix Art Museum, AZ Princeton University Art Museum, NJ Rhode Island School of Design Museum of Art Robert Hull Fleming Museum at the University of Vermont St. Johnsbury Athenaeum, VT Samuel Dorsky Museum of Art, NY Seattle Art Museum Smith College Museum of Art, MA Smithsonian American Art Museum, Washington DC Spencer Museum of Art at the University of Kansas Springfield Museum of Art, OH Sweet Briar College, VA Terra Foundation for the Arts, IL Thyssen-Bornemisza Museum, Madrid Toledo Museum of Art, OH Trinity College, CT Union League Club, NY United States Department of the Interior, Washington DC Virginia Steele Scott Foundation, CA Wadsworth Atheneum, CT Washington University Gallery of Art, MO Whitney Museum of American Art Williams College Museum of Art, MA Yale University Art Gallery, CT IV. Exhibitions 1847 The National Academy of Design, New York (also in 1848, 1849, 1850, 1850, 1851, 1852, 1853, 1854, 1855, 1856, 1857, 1858, 1859, 1860, 1861, 1862, 1863, 1864, 1865, 1866, 1867, 1868, 1870, 1872, 1873, 1874, 1876, 1877, 1878, 1879, and 1880) 1848 The American Art-Union, New York (also in 1849, 1850, and 1852) 1855 The Boston Athenaeum, Boston (also in 1858, 1859, 1860, 1861, 1864, 1865, and 1869) 1856 Pennsylvania Academy of the Fine Arts, Philadelphia (also in 1861, 1863, 1864, 1867, 1868, and 1880) 1858 The Washington Art Association, Washington DC 1859 Young Men’s Association, Troy, New York (also in 1860, and 1861) Yale Art Library, New Haven, Connecticut Tenth Street Studio Exhibition, New York (also in 1860) Dodsworth’s Studio Exhibition, New York (also in 1860) 1860 Artists’ Fund Society, New York (also in 1862, 1863, 1864, 1865, 1866, 1867, 1868, 1871, 1872, and 1873) Pittsburgh Art Association Western Academy of Art, Saint Louis 1861 Brooklyn Art Association, New York (also in 1862, 1864, 1865, 1866, 1867, 1868, 1869, 1870, 1872, 1873, 1874, 1875, 1876, 1877, 1878, 1879, and 1880) 1863 Weehawken Gallery, New Jersey 1864 Great Central Fair, Philadelphia, Pennsylvania 1865 Northwestern Fair, Chicago, Illinois Philadelphia Sketch Club Buffalo Fine Arts Academy, New York (also in 1873) 1866 Opera House Art Association, New York, New York 1867 Exposition Universelle, Paris (also in 1878) Yale [College] School of Fine Arts, New Haven, Connecticut (also in 1870, 1871, 1872, 1874, and 1875) Derby Gallery, New York, New York American Society of Painters in Water Colors, New York 1868 Union League Club, New York (also in 1870, 1871, 1873, and 1876) Utica Art Association, New York (also in 1871, and 1878) Maryland Historical Society, Baltimore 1869 Century Association, New York (also in 1870, 1871, 1872, 1873, 1874, 1875, and 1876) 1870 Harrison Collection, Philadelphia Jenkins Collection, Walters Art Gallery, Baltimore 1871 Saint Louis Mercantile Library, St. Louis (also in 1872) 1873 Cincinnati Industrial Exposition, Cincinnati (also in 1874) Connecticut School of Design, Hartford, Connecticut “John Frederick Kensett Memorial Exhibition,” National Academy of Design 1874 Metropolitan Museum of Art, New York (also in 1875) Moore’s Art Rooms, New York 1875 Centennial Loan Exhibition, Hartford, Connecticut Chicago Interstate Industrial Exposition, Chicago (also in 1876) Hoe’s Collection, New York 1876 Centennial Exhibition Art Gallery, Philadelphia Young Women’s Christian Association, New York “Centennial Exhibition”, National Academy of Design, New York, “Centennial Exhibition”, Metropolitan Museum of Art San Francisco Art Association 1880 “Sanford Robinson Gifford Memorial Exhibition,” Metropolitan Museum of Art “Sanford Robinson Gifford Memorial Exhibition,” Century Association 1980 “American Light: The Luminist Movement,” National Gallery of Art, Washington DC 1987 “American Paradise: The World of the Hudson River School,” Metropolitan Museum of Art 2002 “American Sublime: Landscape Painting in the United States 1820–1880,” Pennsylvania Academy of Fine Arts, Philadelphia 2003 “Hudson River School Visions: The Landscapes of Sanford R. Gifford,” Metropolitan Museum of Art “Hudson River School Drawings From Dia Art Foundation,” Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York 2006 “American Scenery: Different Views in Hudson River School Painting,” Samuel Dorsky Museum of Art, New Paltz, New York V. Memberships Artists’ Fund Society Century Association Dodsworth’s Artists’ Reception Association National Academy of Design New York Sketch Club Union League Club VI. Notes 1. Sanford Robinson Gifford, “Frothingham Letter,” Archives of American Art; quoted in Kevin J. Avery and Kelly, Franklin, eds., Hudson River School Visions: The Landscapes of Sanford R. Gifford (New York: The Metropolitan Museum of Art, 2003), 6. 2. In 2008 Gifford’s painting Mount Mansfield, Vermont (1859; whereabouts unknown) and Frederic Edwin Church’s Scene on the Magdalene (1854; whereabouts unknown) were involved in controversy when the National Academy of New York deaccessioned them from its collection. They were sold to an unknown buyer for $13.5 million; money which the Academy needed to raise to cover operating expenses during America’s worst financial downturn since the Great Depression. The high price garnered by the sale reflects the ‘recession-proof’ performance of good Hudson River School works at auction, demonstrating how Gifford has become an invaluable part of American national heritage. VII. Suggested Resources
5858	dbpedia	3	41	https://pdfcoffee.com/the-handbook-of-critical-literacies-pdf-free.html	en	The Handbook of Critical Literacies	https://pdfcoffee.com/im…ies-pdf-free.jpg	https://pdfcoffee.com/im…ies-pdf-free.jpg	[ "https://pdfcoffee.com/pdfcoffee/assets/img/pdfcoffee_logo.png", "https://pdfcoffee.com/img/200x200/the-handbook-of-critical-literacies-pdf-free.jpg", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/thumbnail_placeholder.png", "https://pdfcoffee.com/pdfcoffee/assets/img/pdfcoffee_logo.png" ]	[]	[]	[ "" ]	null	[ "Guest" ]	null	THE HANDBOOK OF CRITICAL LITERACIESThe Handbook of Critical Literacies aims to answer the timely question: what are th...	en	https://pdfcoffee.com/pd…e-icon-57x57.png	pdfcoffee.com	https://pdfcoffee.com/the-handbook-of-critical-literacies-pdf-free.html	The Handbook of Critical Literacies aims to answer the timely question: what are the social responsibilities of critical literacy academics, researchers, and teachers in today’s world? Critical literacies are classically understood as ways to interrogate texts and contexts to address injustices and they are an essential literacy practice. Organized into thematic and regional sections, this handbook provides substantive definitions of critical literacies across fields and geographies, surveys of critical literacy work in over 23 countries and regions, and overviews of research, practice, and conceptual connections to established and emerging theoretical frameworks. The chapters on global critical literacy practices include research on language acquisition, the teaching of literature and English language arts, Youth Participatory Action Research, environmental justice movements, and more. This pivotal handbook enables new and established researchers to position their studies within highly relevant directions in the field and engage, organize, disrupt, and build as we work for more sustainable social and material relations. A groundbreaking text, this handbook is a definitive resource and an essential companion for students, researchers, and scholars in the field. Jessica Zacher Pandya is Professor of Teacher Education and Liberal Studies at California State University, Long Beach, USA. Raúl Alberto Mora is Associate Professor in the School of Education and Pedagogy and Chair of the Literacies in Second Languages Project research lab at Universidad Pontificia Bolivariana, Medellín, Colombia. Jennifer Helen Alford is Associate Professor in the Faculty of Creative Industries, Education and Social Justice at Queensland University of Technology, Australia. Noah Asher Golden is Assistant Professor of Secondary Education at California State University, Long Beach, USA. Roberto Santiago de Roock is Assistant Professor of Learning Sciences & Technology at the University of California, Santa Cruz, USA. THE HANDBOOK OF CRITICAL LITERACIES EDITED BY JESSICA ZACHER PANDYA, RAÚL ALBERTO MORA, JENNIFER HELEN ALFORD, NOAH ASHER GOLDEN, AND ROBERTO SANTIAGO DE ROOCK First published 2022 by Routledge 605 Third Avenue, New York, NY 10158 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2022 Taylor & Francis The right of Jessica Zacher Pandya, Raúl Alberto Mora, Jennifer Helen Alford, Noah Asher Golden, and Roberto Santiago de Roock to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this book has been requested ISBN: 978-0-367-90260-5 (hbk) ISBN: 978-0-367-90259-9 (pbk) ISBN: 978-1-003-02342-5 (ebk) DOI: 10.4324/9781003023425 Typeset in Bembo by Apex CoVantage, LLC CONTENTS Prefacex Introduction to Area 11 Jessica Zacher Pandya 1.1 Introduction to the Handbook of Critical Literacies: The Current State of Critical Literacy Around the World Jessica Zacher Pandya, Raúl Alberto Mora, Jennifer Helen Alford, Noah Asher Golden, and Roberto Santiago de Roock 1.2 Critical Literacy: Global Histories and Antecedents Lina Trigos-Carrillo, Rebecca Rogers, and Miriam Jorge 3 10 1.3 Literacies Under Neoliberalism: Enabling Ethnonationalism and Transnationalism24 Rohit Mehta, Csilla Weninger, and David Martínez-Prieto 1.4 Critical Literacy in English Language Teaching, Bi/Multilingualism, and Translanguaging40 Chris K. Chang-Bacon, Nihal Khote, Robin Schell, and Graham V. Crookes 1.5 Youth Civic Participation and Activism (Youth Participatory Action Research) Robert Petrone, Nicole Mirra, Steve Goodman, and Antero Garcia 50 1.6 Teachers Enacting Critical Literacy: Critical Literacy Pedagogies in Teacher Education and K–12 Practice Betina Hsieh and Susan Cridland-Hughes 61 v Contents 1.7 Children’s and Youth’s Embodiments of Critical Literacy Elisabeth Johnson, Grace Enriquez, and Stavroula Kontovourki 71 1.8 Queer Critical Literacies Navan Govender and Grant Andrews 82 1.9 Critical Literacy and Writing Pedagogy Anwar Ahmed and Saskia Van Viegen 94 1.10 Critical Media Production Olivia G. Stewart, Cassandra Scharber, Jeff Share, and Anne Crampton 105 Introduction to Area 2116 Roberto Santiago de Roock and Raúl Alberto Mora 2.1 Critical Literacy Praxis in Aotearoa New Zealand Susan Sandretto, Jane Tilson, and Derek Shafer 117 2.2 Critical Literacies in Australia Jennifer Alford, Lisa van Leent, Lynn Downes, and Annette Woods 125 2.3 Critical Literacies Made in Brazil133 Walkyria Monte Mór, Ana Paula Duboc, and Daniel Ferraz 2.4 Critical Literacies in Canada: Past, Current, and Future Directions Cassie J. Brownell, Ty Walkland, and Rob Simon 2.5 Critical Literacies in Colombia: Social Transformation and Disruption Ingrained in our Local Realities Raúl Alberto Mora, Claudia Cañas, Gloria Gutiérrez-Arismendy, Natalia Andrea Ramírez, Carlos Andrés Gaviria, and Polina Golovátina-Mora 143 151 2.6 Critical Literacy in India: A Case for Critical and Postcritical Education159 Radha Iyer and Sneha Subramaniam 2.7 Critical Literacies in Indonesia Zulfa Sakhiyya and Christianti Tri Hapsari 169 2.8 Critical Literacies in Iran: A Tour D’horizon Arman Abednia, Seyyed-Abdolhamid Mirhosseini, and Hossein Nazari 177 vi Contents 2.9 Critical Literacy in Japan: Reclaiming Subjectivity in the Critical Yuya Takeda and Shinya Takekawa 2.10 Critical Literacies in México Gregorio Hernandez-Zamora, Mario López-Gopar, and Rosa María Quesada-Mejía 2.11 Critical Literacy in Puerto Rico: Mapping Trajectories of Anticolonial Reaffirmations and Resistance Carmen Liliana Medina and Sandra L. Soto-Santiago 2.12 Critical Literacy in Russia Margarita Gudova, Maria Guzikova, and Rafael Filiberto Forteza Fernández 2.13 A Survey of Critical Literacy Education in Singapore: Challenges and Potentialities Mardiana Abu Bakar and Siao See Teng 185 194 203 211 218 2.14 Critical Literacies in Post-Apartheid South Africa Hilary Janks and Carolyn McKinney 227 2.15 Critical Literacies Work in the United Kingdom Jennifer Farrar, Kelly Stone, and Donna Hazzard 237 2.16 Critical Literacy in the United States of America: Provocations for an Anti-Racist Education Cheryl McLean, Cynthia Lewis, and Jessica Zacher Pandya 245 2.17 Critical Literacy in the Caribbean Isles (English- and Dutch-speaking) Lavern Byfield 254 2.18 Critical Literacy in Hong Kong and Mainland China Benjamin “Benji” Chang 262 2.19 Critical Literacy in the Nordic Education Context: Insights From Finland and Norway Aslaug Veum, Heidi Layne, Kristiina Kumpulainen and Marianna Vivitsou 273 2.20 Critical Literacies Praxis in Norway and France Silje Normand, Alexandre Dessingué and David-Alexandre Wagner 281 2.21 Critical Literacies in South Asia Pramod K. Sah and Prem Phyak 289 vii Contents 2.22 Critical Literacy in Uganda and Congo: The Urgency of Decolonizing Curricula297 Jean Kaya and Amoni Kitooke Introduction to Area 3305 Noah Asher Golden and Jennifer Helen Alford 3.1 Critical Literacy and Contemporary Literatures David E. Low, Anna Lyngfelt, Angela Thomas, and Vivian Maria Vasquez 308 3.2 Critical Arts-Literacies in Classrooms: Moving With Abduction, Imagination, and Emotion Across Modalities James S. Chisholm and Kathryn F. Whitmore 317 3.3 Critical Literacy Out of the Comfort Zone: Productive Textual Tantrums George L. Boggs, Nerida Spina, Donna E. Alvermann, and Barbara Comber 327 3.4 Planetary Literacies for the Anthropocene Karin Murris and Margaret J. Somerville 335 3.5 Critical Literacy, Digital Platforms, and Datafication T. Philip Nichols, Anna Smith, Scott Bulfin, and Amy Stornaiuolo 345 3.6 Connecting Critical Literacy and Dis/Ability Studies: Opportunities and Implications David I. Hernández-Saca 354 3.7 Critical Literacy and Abolition Justin A. Coles, Roberto Santigo de Roock, Hui-Ling Sunshine Malone, and Adam D. Musser 363 3.8 Critical Digital Literacy Alexander Bacalja, Earl Aguilera and Edison Ferney Castrillón-Ángel 373 3.9 Critical Literacy and Additional Language Learning: An Expansive View of Translanguaging for Change-Enhancing Possibilities Sunny Man Chu Lau, Zhongfeng Tian and Angel M. Y. Lin 381 3.10 Indigenous Youth Digital Language Activism Kristian Adi Putra and Lusia Marliana Nurani 391 3.11 Critical Literacy and English Language Teaching Seonmin Huh, Lílian Vimieiro Pascoal, and Andréa Machado de Almeida Mattos 402 viii Contents 3.12 Proposing a Politics of Immediation for Literacy Studies, or What Is Possible for Literacy Studies Beyond Critical Theory’s Mediations? Christian Ehret, Kelly C. Johnston, and Jennifer Rowsell 3.13 The Situational in Critical Literacy Catarina Schmidt, Ninni Wahlström, and Amy Vetter 3.14 Supporting Critical Literacies through Culturally Sustaining Pedagogy Within Youth-Led Spaces Casey Philip Wong and Tanja Burkhard 3.15 Critical Community Literacies in Teacher Education Pooja Dharamshi, Laura Ruth Johnson, and Judy Sharkey 3.16 Disrupting Xenophobia Through Cosmopolitan Critical Literacy in Education Rahat Zaidi and Suzanne S. Choo 411 419 428 437 447 3.17 Border Literacies: A Critical Literacy Framework From Nepantla Enrique David Degollado, Idalia Nuñez, and Minea Armijo Romero 456 3.18 Conclusion: Critical Literacy and the Challenges Ahead of Us Raúl Alberto Mora, Jessica Zacher Pandya, Jennifer Helen Alford, Noah Asher Golden, and Roberto Santiago de Roock 465 List of Contributors 472 Index492 ix PREFACE This handbook aims to answer a historic but ever-pressing question: What is the social responsibility of critical literacy academics, researchers, and teachers in today’s world? As the chapters suggest, this question is at the forefront of our minds. We five editors—living in Australia, Colombia, Singapore and the United States when we began our collaboration—met because of our ability as global academics to travel and present our research. Out of ongoing dialogues, we began the Transnational Critical Literacy Network (TCLN), aiming to bring researchers together from around the world to share perspectives and forge new alliances. At first, this consisted of inviting colleagues near and far to join the venture via a Google Docs (https://docs.google.com/document/d/19PK5Fz6I4x8u2CZMW6zQEIWLWjzi5rXzaeLNZf6Yuk/edit?usp=sharing). As the network grew in numbers and ideas, we began drafting a joint paper (with the entire network of over 100 scholars) as well as thinking of other shared projects. The Network now has over 140 members from about 20 countries including Argentina, Australia, Brazil, Canada, Chile, Colombia, England, Hong Kong, Indonesia, Iran, Japan, Mexico, Palestine, New Zealand, Norway, Puerto Rico, Saudi Arabia, Scotland, Singapore, South Africa, Sweden, Uganda, and the United States. Members are preservice teachers, classroom teachers, graduate students, new professors, and more established as well as emeritus professors. As members shared the occasional conference call, journal call, or began asking for potential research collaborators, we began to conceive of this project. The five of us decided on a handbook of critical literacies, an undertaking done both in homage to our own critical literacy mentors— Barbara Comber, Hilary Janks, Allan Luke, and Vivian Maria Vasquez—and in a deliberate attempt to broaden and diversify the scholars who might find intellectual homes under a revitalized critical literacy umbrella. We have called it the Handbook of Critical Literacies. When we put the invitation to help craft the handbook proposal to the Network/TCLN, we hoped to interest the members and garner potential authors; we generated an incredible amount of supportive and honest commentary that led directly to this book. Those who spoke against participating in a handbook project had different kinds of objections. They said that handbooks privilege those who can afford to access or buy them; handbooks are expensive and our aim in the future is to transform the chapters into more accessible and affordable platforms. Some members also said that handbook chapters mattered less in their retention, tenure, and promotion processes. This is changing in a lot of contexts as the value of various forms of publishing is accepted, but we acknowledge that this practice is often tied to privilege where those who are already well published and promoted can afford to deviate from the norm. x Preface However, for us, the book itself is a space like no other, and after weighing the pros and cons, we decided to proceed with the handbook as a way of bringing a host of experienced and emerging scholars together on a single, defining collaborative, generative project, one that would help emerging scholars gain recognition for their work. It is our hope that the handbook will also see critical literacy claim an important territory with a well-recognized publisher. We asked those who did want to participate—despite the real issues we’ve just discussed—to go far out of their comfort zones. We set up a Google Doc for chapter ideas we had, invited more ideas, and kept refining it until we felt we had a workable structure. This included a section of the handbook on established critical literacy traditions, which we originally referred to as the section on critical literacy over time; one on the different traditions and epistemological variations of critical literacy around the world; and a third area that asked authors to push the boundaries of critical literacy further out and further into the future. We took a partial table of contents, made another Google Docs, and asked network members to sign up for any and all chapters they wanted to work with/in/on. We tried to make every single chapter (all 50 of them) jointly authored so that no one person would be the sole voice of authority on a given topic, country, region, or emerging idea. We asked people to find authors who brought different perspectives than their own on the same problem, to find younger or older scholars, people from other countries, institutions, language backgrounds. If authors wanted help finding a coauthor, we helped; we also turned to the larger Network to ask for additional authors, ideas, and leads. We discussed the project with our mentors and asked their guidance about structure and content. We mention these linkages and these complicated flows to highlight that this really has been a group project, if not a collective one. None of us five editors feels we are qualified, capable, or arrogant enough to define critical literacy on our own, much less decide what topics should be included and what should not. We had to do it together, and together we have done it! From all of us to you, our readers, welcome to the conversation, welcome to the Network! Jessica Zacher Pandya, Raúl Alberto Mora, Jennifer Helen Alford, Noah Asher Golden, and Roberto Santiago de Roock xi INTRODUCTION TO AREA 1 Jessica Zacher Pandya In Area 1, authors—delve into the antecedents and current configurations of critical literacy work. The area begins with the editors’ introduction (Chapter 1), which outlines the history of this collection and lays out some of our editorial hopes, fears, and dreams. Lina Trigos-Carrillo, Rebecca Rogers, and Miriam Jorge begin their exegesis of the global histories and antecedents of critical literacy in Chapter 2 with autobiographical poems that invite their readers to think creatively and with emotion about these deeply theoretical constructs. Like many chapters, this one ends with questions to push our own work in this field further, but authors also ask us to consider how we contribute to inequalities in the publishing and grant writing industries, perhaps at the cost of doing our own social justice work. In Chapter 3, Rohit Mehta, Csilla Weninger, and David MartínezPrieto methodically lay out connections between neoliberalism, ethnonationalism, and transnationalism, arguing that critical literacies are the antithesis of neoliberal literacies. They ask us to examine the impact of neoliberalism on literacy education, especially as it influences transnational flows of people, ideas, and literacy practices in online and in person spaces. Four chapters in this area take up issues of pedagogy and teaching directly. The first of these is Chapter 4, in which Chris K. Chang-Bacon, Nihal Khote, Robin Schell, and Graham V. Crookes take up the relationship between English language teaching (ELT) and critical literacies. They ask readers to consider two purposes for criticality in ELT, a pedagogical one to promote critical engagement with texts and lifeworlds in language classrooms and a larger one about English itself. They interrogate the global nature of English language teaching and ask us to ask: Why English? And, whose English? Betina Hsieh and Susan Cridland-Hughes describe the evolution of critical literacy work in teacher education and in K–12 classrooms in Chapter 6, discussing dispositions of teachers and teacher educators, then moving on to examples of critical literacy in practice. They ask us to reflect on the roles of our local school districts and partners, as well as teacher education programs, in making critical literacy practices not only sustainable but also more central to language arts education. Chapter 8 focuses our attention on queer critical literacies. Navan Govender and Grant Andrews draw on a dense body of past work to offer a pedagogical tool: a framework for queering and queer critical literacy. In Chapter 9, Anwar Ahmed and Saskia Van Viegen address the rich history of the relationship between writing and critical literacy. They argue that creating and maintaining a critical writing pedagogy can further critical literacy and move us toward equity and justice in classrooms around the world. 1 DOI: 10.4324/9781003023425-1 Jessica Zacher Pandya Another three chapters focus on youth experiences of and with critical literacy. In Chapter 5, Robert Petrone, Nicole Mirra, Steve Goodman, and Antero Garcia outline the intersections of critical literacy work, youth activism, and civic participation. They define key terms, offer citations of landmark and more recent YPAR-related work, and ask us to question the boundaries and benefits of YPAR for youth and their communities. Chapter 7 describes past and present work in critical literacies from an embodiment perspective, considering the ways children’s and youth’s bodies as social texts are written and performed. Elisabeth Johnson, Grace Enriquez, and Stavroula Kontovourki review work on children remaking selves, engaging critically in their social worlds, and press readers to remember how much bodies and representations still matter in an increasingly post-humanist world. The last chapter in Area 1, Chapter 10, reviews work at the nexus of critical literacies and critical media production or critical media literacies. Olivia G. Stewart, Cassandra Scharber, Jeff Share, and Anne Crampton argue that as academics we need to continually teach criticality in media spaces and suggest that academics must do this as they create their own media and as they create spaces for children and youth to critically create and consume media. 2 1.1 INTRODUCTION TO THE HANDBOOK OF CRITICAL LITERACIES The Current State of Critical Literacy Around the World Jessica Zacher Pandya, Raúl Alberto Mora, Jennifer Helen Alford, Noah Asher Golden, and Roberto Santiago de Roock This is an expansive handbook on the past, present, and future of critical literacies on a transnational scale. Critical literacies, as they are classically conceived, offer people ways of interrogating texts and contexts and of writing and rewriting texts and realities to address injustices. They are, or ought to be, a key skill in any literate individual’s repertoire of literacy practices (cf. Comber & Simpson, 2001; Janks, 2010; Luke, 2014; Vasquez, 2005). We define them in this Handbook as literate practices individuals need in order to survive and thrive in the world, foregrounding the concept that information and texts are never neutral; they afford the ability to produce powerful texts that address injustices in our lived worlds. This formulation is sometimes known by other names in the Global South, particularly in Latin America and Africa. As chapters in Area 2 of the Handbook will show, it can be seen in research on language acquisition, the teaching of literature and English language arts, Youth Participatory Action Research, environmental justice movements, and more. As the notion of “critical” has become increasingly commonplace, we as editors fear that, without reflexivity, the term has sometimes become too diluted or misconstrued to mean much at all, especially as terms like “critical thinking” become part of the neoliberal educational vocabulary. We are also concerned that the deeply contextualized meanings of critical literacy in different places and spaces around the globe may be lost even before coming to light. In the Handbook, we intentionally draw on multiple critical epistemologies, including European, Black, and Indigenous thinkers from the Global South and the Global North. At a time when post-truth paradigms influence the ways education is understood and enacted, and misinformation and disinformation increasingly shape unfolding events and evolving structures of power, critical literacies feel more relevant and crucial than ever. Transnational issues of literacy are central to the resurgence of authoritarian forces and thus critical approaches have never been more important. As we write, we are experiencing the COVID-19 pandemic, whose ravages highlight the very inequalities and power arrangements that critical literacies research highlights. The pandemic’s death toll is exacerbated by years of intensifying ethno-racialized notions of citizenship and nationhood across the world, which some among us see as resurgent fascisms. This has included strong anti-science discourses and right-wing populist support, all based on broad-based consumption of misinformation and disinformation (often called “fake news”) spurred on by the architecture of and people’s use of social media. Additionally, existential threats due to climate genocide and nuclear proliferation 3 DOI: 10.4324/9781003023425-2 Jessica Zacher Pandya et al. are increasingly pressing, with significant repercussions for our biosocial and material worlds. Within education, we are also seeing increasingly narrow conceptualizations of literacy serving the interests of standardization, measurability, and accountability (Pandya, 2011) and a concomitant rise of edubusinesses that profit from literacy education. At the same time, the nature of texts and textual flows are rapidly transforming via media manipulation and the algorithms underlying digital platforms, altering the ways humans and nonhumans interact, produce, and consume knowledge, experience text(s), and experience racism (Benjamin, 2019; de Roock, 2021). If not for the everyday and collective resistance that is ongoing and necessary, such as the Black Lives Matter uprisings of 2020, or the recent protests taking place across Latin America or Asia, to name two regions, for the past two years, it would be easy to feel that critical literacies educators are losing the battle. In response to this complex confluence of change driving humanity toward homogenization in the name of control and profit, this Handbook provides a heterogeneity of current interpretations and applications of critical literacy by scholars from across the globe. We seek to demonstrate the diversity of uptake within critical literacy research communities; to strengthen our critical literacies praxis and international collaborations; and to present a stronger collective and heteroglossic front. We see a strong need for collaborations across borders and foresee the generative possibilities of such collaborations. As oppressive discourses, institutions, and forces are increasingly transnational, and as socioeconomic injustices grow and inequities widen, research and organizing that responds to oppression must also grow and diversify. We purposefully use the term “transnational” to signal our own perspectives on our places in the world and our own lived realities. Transnationalism as a term “came into existence at that moment in time when successful nation-state building ‘contributed to the creation of large numbers of people’ out of place-—that is, crossing over the national boundaries erected in the last two centuries” (Roudometof, 2005, p. 119). Attention has shifted “from state and macro-actors to the micro-level of globalization and to civil society movements” (Duscha, Klein-Zimmer, Klemm, & Spiegel, 2018, p. 3) creating opportunities for refocusing the loci of voice and power. The Handbook is an attempt to capture disparate voices about critical literacy as a kind of collective civil movement. This Handbook grew out of the Transnational Critical Literacies Network (TCLN), which was named to reflect our senses of being transnational academics and teachers, both in and out of place, and our awareness that our positionings allow us to decenter our own ways of knowing. As part of this commitment, we sought to highlight what counts as critical literacy work in diverse sociocultural contexts to counter the often-Eurocentric foundations of its academic lineage. In each of the chapters that follows, regardless of topic, area, or theme, we have asked authors to write about their social responsibilities as critical literacy researchers in this world. We decided early on that ideally no one person should write a chapter on their own, and that no one could write more than one. In the end, only three chapters are single-authored. Some authors knew each other before they began writing, while others were total strangers, connected through the TCLN and through their desire to write about this work. We took this approach to diversify the voices in these pages and to ensure that we had authors engaged in dialogue as they wrote. We have all reached far beyond our comfort zones to ask each other uncomfortable questions about whose voices should structure each section and how we should make decisions about inclusion and exclusion. One of our major preoccupations has been the languages we would use in this Handbook. We were not allowed to publish chapters in two languages—such as the authors’ preferred language and English—but as readers will see as they read the Handbook, we succeeded in arguing that many varieties of English were welcome. Readers will also encounter a wide variety within the structures we created; some authors chose to focus more on their home or adopted countries in a chapter on a geographic region, and some authors chose to focus on emerging instead of canonical work. Additionally, we have not required certain terms or acronyms (e.g., readers will see both “multilingual learner” and “emergent bilingual” in use in different places). The variation readers will encounter is intentional and reflects our vision for this Handbook as a space for diversity of experimentation, change, and intellectual rigor. 4 Intro to Handbook of Critical Literacies Form and Structure of the Handbook As we hinted in the Preface, the Handbook is laid out in three Areas, allowing us to engage in three related projects mirrored in its areas: the antecedents and current state of critical literacies in Area 1; a global survey of critical literacy in praxis, examining work in 23 countries and geographical regions in Area 2; and finally, the chapters in Area 3 highlighting work that has pushed and continues to push the boundaries of critical literacies. We describe below some of the key concepts, theoretical frameworks, and areas of research in the three areas. Area 1: Critical Literacies Over Time: Antecedents and Current Configurations The first area addresses substantive definitions of critical literacies across fields and geographies, including historical surveys and deep theoretical dives. We have conceived of this first area as one about time; chapters describe and summarize critical literacy research over time in its different guises and subfields. Chapters also tackle critiques of critical literacy and questions about how it can be of use in neoliberal contexts and spaces. The authors of Chapter 1.2 experiment with the form and structure of the Handbook chapter. They begin by delving into critical literacy in action in three separate contexts, from the educational practices of a community of former guerilla members, through a “pedagogy of the earth” course in Brazil, to a U.S. grassroots teacher activist network. They trace connections between popular education—as Freire and others have described and enacted it—and our more current conceptions of critical literacies. What those authors do in poetry and prose, subsequent chapter authors take up more forthrightly, offering definitions of neoliberalism and ethnonationalism; English language teaching, bi/multilingualism, and translanguaging; youth, participatory, action, and research (as “YPAR”); embodiment, the disciplined body, the body as social text, the feeling/sensing body, the intra/acting body, and embodied literacies; identities, heteronormativity, practices of queering, and queering critical literacy; and critical media consumption and production. The authors in Area 1 draw on a wide range of historical and current theoretical framings, as befits the wide scope of the Handbook. Readers will engage with sociocultural, poststructuralist, and post-humanist approaches. They will be reminded of the contributions of systemic functional linguistics and critical discourse analysis and be asked to take up queer perspectives on literacies, writing, and the world. Multiliteracies, participatory culture, and connected learning are also referenced in these chapters. Reading across the chapters is a reminder of how we as researchers and teacher educators draw on widely different traditions and theories to make sense of the critical literacies in which we engage to make sense of our worlds. We asked authors to undertake reviews of and implications for research in their separate chapters. Reading across them shows the impact of neoliberal policies on literacy education, illuminating how such policies shape and exclude on a transnational scale (Chapter 1.3). It also shows us how children and youth can engage in critical literacies at all language levels, emphasizing the relevance of critical literacies to the lived realities of multilingual students (Chapter 1.4); we are reminded that critical literacy practices in the ELT classroom can facilitate language proficiency, motivation, and engagement, whether or not that is the original goal. Teachers are at the center of some chapters, where we see how teacher preparation contexts can be inimical to, or can foster, the uptake of critical literacy practices by teachers in preservice classes and their own classrooms (Chapter 1.6), and how teachers’ work facilitates critical literacies for English learners (Chapter 1.4). We are reminded of the ways Youth Participatory Action Research (YPAR) privileges youth identities, epistemologies, and literacy practices, and of how YPAR challenges formal classroom learning methods and practices, as well as how it may transform the ways teachers are educated 5 Jessica Zacher Pandya et al. (Chapter 1.5). These challenges are reiterated and viewed through the lens of embodiment in Chapter 1.7, where adult objectives for literacy learning are interrogated alongside youth’s own perspectives and goals, and where authors see critical engagement in the exploration of youth’s embodied literacy practice. We see how queering critical literacy entails the questioning of the representation of queer peoples’ experiences, as well as questioning how we police (a)gender and (a)sexuality through our literacy practices (Chapter 1.8). We are asked to consider the role of writing in critical literacy education (Chapter 1.9). We are introduced to competing, overlapping, and contradictory approaches to media literacy, from critical digital literacies to critical computational literacies to pedagogies of invention (Chapter 1.10). Area 2: Critical Literacies Across Space: A Global Survey of Critical Literacy Praxis The second area addresses the question: What does critical literacy pedagogy look and sound like around the world? We conceived of this area as a collection of critical literacies praxis across space. We brought together surveys of critical literacy work that cover all continents, blending research on long-standing and recognized traditions together with research in regions with emergent or less recognized traditions. We were specifically interested in exploring what it means to engage in transnational critical literacy work (both country- and region-specific), especially teasing out the tensions involved in indexing these global concepts and theories in local contexts. Contributions contest any monolithic sense of critical literacy, pushing for a more expansive and transnational critical literacy project. We were invested in highlighting countries or regions typically left out of discussions on critical literacy pedagogy, ultimately including both country- and region-specific surveys. The hope was to have all regions covered in some way. However, many regions are missing, not because there is not work being done there but due to a combination of limitations in our networks and lack of time for those we invited (especially given the COVID-19 pandemic). The term “critical literacy” also is far from universal, and even when similar work is being done, it more often than not goes by different names. The scope and organization of this area was far from straightforward, especially given our commitment to remain sensitive to the histories, politics, and tensions embodied in geographical divisions. The process illustrates the ways textual practices are always political. Puerto Rico, for example, is a colony of the United States rather than an independent country, but we have chosen to list it with countries. Similarly, there was a question of whether Hong Kong should have its own chapter or be grouped with Taiwan, Macao, and Tibet under a greater China chapter. There was debate about how to approach the Caribbean, especially given the ways languages at play (Spanish, French, English, Dutch) come with distinct histories, flows, and debates. In the end, these chapters (Chapters 2.11, 2.17, and 2.18) coalesced through conversations with the authors, who were best positioned to stake claims, especially given what they felt capable and qualified to write about. We remain aware, however, that these are clearly political decisions, and that not all readers will be happy with them. The configuration of the chapter authors was a broad palette. Some of the chapters included research teams that are working together to create a research body or make sense of it all within one institution (Australia [Chapter 2.2], Brazil [Chapter 2.3], Canada [Chapter 2.4], Colombia [Chapter 2.5], Indonesia [Chapter 2.7], Norway and France [Chapter 2.20], Russia [Chapter 2.12], Singapore [Chapter 2.13]) or across different institutions (Aotearoa New Zealand [Chapter 2.1], Mexico [Chapter 2.10], Nordic Countries [Chapter 2.19], South Africa [Chapter 2.14], United Kingdom [Chapter 2.15], United States [Chapter 2.16]). Some chapters mixed scholars situated both in the Global South and North, joined by a common topic (e.g., India [Chapter 2.6], Iran 6 Intro to Handbook of Critical Literacies [Chapter 2.8], Japan [Chapter 2.9], Puerto Rico [Chapter 2.11], South Asia [Chapter 2.21]). Some chapters bookended years of collaborative work, some chapters encompassed budding partnerships, and sometimes, serendipity brought the authors together (e.g., Uganda and Congo [Chapter 2.22]). Some of the driving questions for the chapters in this section include: What forces are driving definitions and redefinitions of critical literacy? How is it thought about in different spaces? What local and global historical factors are reshaping definitions? What are the barriers to enacting critical literacy pedagogy in these countries? We suggested structuring chapters into six sections to identify major issues surrounding critical literacy on a global scale: (i.) An overview of the geographical space in its sociopolitical contexts; (ii.) An overview of the geographical space’s educational system(s); (iii.) A survey of critical literacy work (including theory and pedagogy) by researchers and practitioners in the country, with some comparison to international work and lineage; (iv.) Visions for moving into more transnational and critical work from the perspective of that country; (v.) Conclusions/findings/suggestions for further research and practice; and (vi.) Implications for our social responsibility as academics. This transnational work is ongoing, partial, and incomplete; we see it as a push for the field to both recognize and work for the expansion of critical literacies praxis. Covering every country or even region was a nearly impossible task and therefore this Handbook is not, in that sense, comprehensive. We see it as a conversation starter for our authors, readers, and the field. It represents an opening to look at emerging issues not only in these countries, but also on every continent. Whether addressing their country or region, contributing authors, made efforts to situate the conversations in their chapters as part of ongoing regional or continental issues that deserve more attention in years to come. Area 3: Pushing the Boundaries: Critical Literacies in Motion In the third area, authors set up a spirited agenda for critical literacies, pushing current boundaries with explicit calls to action for practitioners and researchers around extant and future critical literacy projects. The goal is to showcase critical literacy in motion. Chapters capture moving versions of critical literacies practice or invitations to connect critical literacy with emerging or under-explored bodies of thought and practice. Each chapter presents work that forges new territory in the field, reporting on varied contexts with a range of far-reaching implications. The projects they explore highlight the ongoing importance of the critical, as well as the unique and at times challenging directions in which contemporary practitioners and researchers are taking this work. This section is a collection of bold calls to continue the evolving relevance of critical literacy to today’s complex education agenda and the broader social, cultural, political, economic, and material life in which we are always enmeshed. We asked authors in Area 3 to invite us into their subfields by defining key concepts and acknowledging and contending with critiques of critical literacies in their domains. As for Areas 1 and 2, we wanted to know the implications of these approaches for our pedagogies, ongoing scholarship, and, perhaps most importantly, for our social responsibility as academics. The agenda that emerges from these chapters invites us to reflect on the limitations of past work in critical literacies as we forge new possibilities, and this rich agenda offers no single approach as we work to respond to conditions shaped by transnational and translocal concerns. The issues engaged through these critical literacy practices in motion are varied and many: chapter authors in Area 3 take up systems of domination grounded in anti-Blackness and other forms of racism; the unfolding climate crisis; the impacts of datafication; social hierarchies produced through deeply problematic exchanges and readings of linguistic capital; the unfurling loss of Indigenous languages; misrecognitions of people; deficit framings of identities; rising nationalisms and xenophobia; and textual practices that limit 7 Jessica Zacher Pandya et al. our ability to form imaginaries that may engender possibilities for new social and material relations. These are indeed weighty concerns. Critical literacy scholars have long resisted the notion of any single approach or methodology that could fix whatever might be seen in a given moment as the “literacy problem” a society or community is facing, recognizing decades ago that: [l]iteracy refers to a malleable set of cultural practices shaped and reshaped by different— often competing and contending—social institutions, social classes, and cultural interests . . . how and when literacy became a problem had as much to do with economic, cultural, and social change as it did with anything that might go on in schools and classrooms. (Luke & Freebody, 1999, p. 2) The more important question is what literacies can do to help create sites of possibility and transformation in the economic, cultural, and sociopolitical flows that delineate current affordances and limitations—flows that are increasingly transnational. Just as there is no single approach to fix a “literacy problem” in formal education, there is no one critical approach to textual analysis or multimodal production that has a monopoly on possible interruptions of the contemporary and futureoriented weighty concerns taken up in this area. Thankfully, the spirited agenda in Area 3: Critical Literacies in Motion offers multiple approaches to the enactment of critical literacies, all directed toward these contemporary and ongoing issues. These approaches include analysis of contemporary literatures to question and make sense of “the sociopolitical systems through which we live our lives” (Chapter 3.1) and the impact of our choices for textual analysis (Chapter 3.3). These approaches also include multimodal arts-based methods to access emotions and rich imaginaries (Chapter 3.2). Readers are invited to pay attention to emergent situated discourse in classrooms to cocreate moments of critical analysis (Chapter 3.13), and encouraged to view the decentering White and hegemonic gazes as a process as we engage in dialogue and activism in youth-led spaces (Chapter 3.14). Chapter authors detail approaches to navigating the beneath-the-screen, less visible software space and datafication to help people better understand new cultural and commercial relations (Chapter 3.5) and explore how everyday relations are shaped by digital media and technologies, positing ways critical digital literacies can broaden understandings of how language, literacy, and power are mediated in these contemporary digital ecologies (Chapter 3.8). Authors argue for the limitations of current frameworks as they entice readers to embrace posthuman and new materialist methodologies in an effort to encourage planetary literacies that offer new understandings of subjectivity—understandings may help to address the urgency of the unfolding climate crisis (Chapter 3.4). We are invited to open our work to “everything, everyone, every moment” as authors propose a politics of immediation for literacy studies (Chapter 3.12). Generative cross-fertilization of critical literacies with dis/ability studies are suggested as a means to disrupt global, ableist hegemonies as we readers are encouraged to center on the experiences of minoritized youth given special education disability labels (Chapter 3.6). Teacher education programs can develop new understandings of schools as embedded within community systems, and teacher educators are invited to see community members as partners in the work of supporting new literacy educators (Chapter 3.15). We see the possibilities in recent work on translanguaging in Additional Language Teaching (Chapter 3.9), and the ways critical literacies can further English Language Teaching (Chapter 3.11). We are invited into Indigenous youth’s use of social media to resist the loss of Indigenous languages (Chapter 3.10). To interrupt rising nationalisms, xenophobia, continuing colonialism, and social hierarchies grounded in racial identities, we are offered approaches to cosmopolitan critical literacies (Chapter 3.16), border literacies (Chapter 3.17), and abolitionist literacies (Chapter 3.7). 8 Intro to Handbook of Critical Literacies No single thread connects the theoretical frameworks, framings, and associated pedagogies and research programs present through the chapters of Area 3. There are chapters that resist the notion of “giving voice” to minoritized people, instead recognizing that people already have voices and seeking to affirm these voices by centering on these people’s knowledges and experiences (e.g., Chapters 3.7, 3.15). There are chapters proposing new theoretical frames, arguing contemporary frameworks cannot attend to the politics of affect (Chapter 3.12), environmental crises (Chapter 3.4), or digital ecosystems (Chapter 3.5). We read about new views of translanguaging (Chapter 3.9), ways to engage the critical in and through contemporary literatures (Chapter 3.1) and the arts (Chapter 3.2), and the need to see beyond our comfort zones while recognizing the current limitations of them (Chapter 3.3). This rich pastiche of approaches shows the current state of the field, and where critical literacies are going. Throughout, we, the readers, are invited to move beyond neoliberal academic production to engage, organize, disrupt, and build as we work for more sustainable social and material relations. Conclusion We, as editors, are awed, inspired, and bolstered by the chapters we have jointly collected, curated, and supported as they arrived in these pages. Our collective futures might involve the creation of websites, listservs, more handbooks, articles, and research studies; it might also include grassroots activism, or active engagement with teachers and students, or with policymakers and curriculum developers. In all cases, we will continue to question our own privilege, our own linguistic and cultural capital, and ask: Where are we going from here? We hope readers feels similarly, and are left with this thought: it is always time to do the work, and let’s do the work. References Benjamin, R. (2019). Race after technology: Abolitionist tools for the New Jim Code. Polity Press. Comber, B., & Simpson, A. (Eds.). (2001). Negotiating critical literacies in classrooms. Lawrence Erlbaum Associates. de Roock, R. S. (2021). On the material consequences of (digital) literacy: Digital writing with, for, and against racial capitalism. Theory Into Practice. https://doi.org/10.1080/00405841.2020.1857128 Duscha, A., Klein-Zimmer, K., Klemm, M., & Spiegel, A. (2018). Understanding transnational knowledge. Transnational Social Review, 8(1), 2–6. https://doi.org/10.1080/21931674.2018.1427680 Janks, H. (2010). Literacy and power. Routledge. Luke, A. (2014). Defining critical literacy. In J. Z. Pandya & J. Ávila (Eds.), Moving critical literacies forward: A new look at praxis across contexts (pp. 19–31). Routledge. Luke, A., & Freebody, P. (1999). Further notes on the four resources model. Reading Online, 1–4. Retrieved from www.readingonline.org/research/lukefreebody.html Pandya, J. Z. (2011). Overtested: How high-stakes accountability fails English language learners. Teachers College Press. Roudometof, V. (2005). Transnationalism, cosmopolitanism and glocalization. Current Sociology, 53(1), 113– 135. https://doi.org/10.1177/0011392105048291 Vasquez, V. (2005). Negotiating critical literacy. Lawrence Erlbaum Associates. 9 1.2 CRITICAL LITERACY Global Histories and Antecedents Lina Trigos-Carrillo, Rebecca Rogers, and Miriam Jorge Current Conditions and Genealogical Roots Globally, in the second decade of the twenty-first century, we are living in an era of widening gaps in wealth, power, and income; environmental crisis worsens as some governments deny their existence and risk. There is a continued violation of human rights (racism, homo/transphobia, detainment of children/youth, human trafficking, lack of access to health care/education; violent response to social protest). Fear is used to control economies, continue wars, and increase military budgets worldwide. In Latin America, in 2020, people experience panic about the expansion of the coronavirus as the dollar price skyrockets affecting local economies; migrants travel across the continent for different reasons, including hunger and violence; the instability of peace and democracy is latent as popular protests face repressive and increasingly militarized tactics. In Brazil, the dubious impeachment (Snider, 2018) of the democratically elected female president Dilma Rousseff in 2016 was followed by antidemocratic events that led to the election of a President who celebrates the brutality of military dictatorship (Schipani, 2017) and condemns human rights. After achieving the historical milestone of leaving the UN World Hunger Map for the first time in 2014, food insecurity returned to the country in 2020. In the United States, we are experiencing a surge of anti-immigrant, anti-Black rhetoric, policies, and practices that infuse every domain of public life. Under the direction of the US Secretary of Education, we see the continued usurping of public funds for private education, de-professionalization of educators, and detainment or separation of children and families at the border for profit. All of this is coupled with surging gun violence, in schools and communities. In the midst of this global–local, sociopolitical stage lies the struggle for/with educational literacies as now more than ever global dynamics have a direct impact on local action, and many communities experience the effects of “glocalization” (Brooks & Normore, 2010). We situate our work with critical educational literacies within these larger geographical, social, political, racial, linguistic, and economic forces that work on and against public schools, teachers, children/youth, families, and communities. Critical Autobiographical Poems: Becoming Scholars of Critical Literacy Before we delve deeper into critical literacy, we each share a poem from our own roots and routes to becoming critical literacy scholars. We do this to emphasize the relationships that exist within each DOI: 10.4324/9781003023425-3 10 Critical Literacy of our stories and the ways in which our narratives intersect in concentric circles. Even though we were raised in different decades and in different countries, there are similarities in our narratives that highlight how pervasive social problems are and how social inequities inspire the desire for change. The continuing push toward consumerism and public apathy is reinforced through individualism, alienation, and isolation. These principles are reinforced in school curricula that emphasize teaching isolated facts, without situated context, or relationships (e.g., for a critique of this, see Zinn, 2005). But without hope education cannot exist. Lina Raised in a working-class neighborhood in Bogota, Colombia, a point on the map Becoming aware of the faces of poverty and violence. The 80s, the decade of terror the war against drug cartels. La Violencia No mass shootings or police brutality, Sporadic bombs to random buildings in cities and towns, kidnappings, murders, massacres. We all were vulnerable. My home, political involvement. Votation day with mi abuelo, I put my finger into a red-ink container (the color of the liberal party) I symbolically voted. My home. Reading. Filled with secondhand books wall-to-wall wooden shelves. At fifteen, discovered horror literature and philosophy Aristotle, Sartre, Marx, Hannah Arendt Existence was volatile. My home. Education for a woman shielded from domestic work and other female-dominated activities in my patriarchal Colombia. Being a privileged mestiza, becoming una mujer, becoming empowered. At Universidad Nacional de Colombia eager to learn more about the world, language, education, all socioeconomic and ethnic backgrounds, all regions around the country living together. Later, an encounter with Paulo Freire and Henry Giroux. Appealing ideas but not entirely new. Critical praxis transpired in the environment. In my early thirties, life took a turn, A baby boy, a partner, and two pieces of luggage 11 Lina Trigos-Carrillo et al. in an empty apartment in the US Midwest being a student again, a doctoral student. Seven years, being transnational, speaking another language, discovering my new identity as a Latina, as the Other. An encounter with “critical literacy.” My home. The tenets of critical literacy and critical pedagogy embodied in the streets, en el barrio, in the university, in my native country. Becoming a critical literacy scholar the fluidity of my identity: a Latina in the US a privileged mestiza in Colombia. Encounters with communities in Mexico, Costa Rica and Colombia, multilingual and migrant families in the US, former guerrilla members and their families in rural Colombia. Transnational. Educator. Miriam Growing up in Brazil I lived and learned Racism Classism Sexism Those were times of oppression Songs of Chico Buarque, Milton Nascimento and Geraldo Vandré Songs I sang as a child; lyrics I understood in college I want to be a teacher! Nice to meet you, Freire! Times to unlearn Racism Classism Sexism It’s democracy again! Seize the day: learn, teach, pair, share! Remember those bedtime stories? Your grandmother, goodness Your mother, strength Your uncles, struggle Your father, love Your sisters . . . inspiration Be strong and disobedient: Learn English Live abroad Learn, teach, pair, share! Publish and inspire Be a teacher educator 12 Critical Literacy Critical literacies for better schools Language education for everyone Racial Democracy a fallacy Dictatorship, never more! Teach, learn, teach Times to confront Racism Classism Sexism Social Justice, Critical Pedagogies Long live the Northeast of Brazil! Viva Freire! Ghosts from the past Haunting our futures Are they planning to come back? And silence our voices, denying the existence of Racism Classism Sexism No. Not him. Not them again We hope We act We continue singing Chico Buarque, Milton Nascimento, Geraldo Vandré And we teach learn unlearn share Rebecca For hundreds of years my people have lived on Haudenosaunee lands becoming white at different times some ancestors changed their names and language while working in factories, mines others started the schoolhouse that required language be lost Growing up in the 1970’s and early 80’s dominant culture in the United States had enough with human rights for womyn and People of Color the air thick with the unregulated freedoms of businesses Violence circulated around us “War on Drugs” (the US manufactured and profiled youth of Color and Immigrant youth) “Cold War” (the imminent threat of nuclear war with the former Soviet Union) Disappearance of Indigenous people 13 Lina Trigos-Carrillo et al. Yet we experienced relative safety and privilege in the schools of thought created by and for our people education converted to property Three decades stood between me and Sisters in Spirit by Sally Roesch Wagner Indigenous People’s History by Roxanne Dunbar-Ortiz Ain’t I a Woman by bell hooks Faces at the Bottom of the Well by Derrick Bell An American Sunrise by Joy Harjo As a young girl, feelings of unfairness different academic expectations for boys girls banned from serving at the altar in the Catholic Church Burned within me From my mother apprenticed into acting with charity Donating clothes to children at school to womyn with mental illness, An unspoken lesson: We could make lives better, even in a small way. A spirit of volunteerism awoke within me I became a Literacy Volunteer as a teenager Something bigger than myself. I worked several jobs to pay for a car and commute to the University earn college degrees I wrote poetry by the Mohawk River and traveled great distances with ideas Still, I had not seen a Person of Color in front of the class nor a white educator with a critical racial lens This absence is part of my herstory By day, I worked at Literacy Volunteers of America organizing people, money, and programs and at night, I studied with critical materialist feminist scholars Who promised “by the end of the semester, you will swim in this theory we read.” Sitting in a circle, we deliberated the teachings of Karl Marx, Homi Bhabha, Rosemary Hennessy, Teresa Ebert, Terri Eagleton This desire to dismantle capitalism, patriarchy, and colonialism grew stronger in a group I encountered the concept of critical literacy when a Professor in graduate school encouraged me to read Paulo Freire’s “Pedagogy of the Oppressed” and “And Also Teach Them to Read: The National Literacy Crusade of Nicaragua” 14 Critical Literacy sacred encounters social movements come alive through words words create movements uniting people across time, place, and difference Border crossings as awakenings St. Louis, Caracas, New Market, Cuernavaca, Detroit geo-political realities of life in a hyper-segregated city Gracias neoliberalismo, for my yearning to organize, be part of a group, to fight profit-making, racism, and patriarchy in classrooms, schools, and communities Fuels my desire to link arms and create a better world —otra vez y otra vez— as an academic, activist/organizer, y madre. * We created these critical autobiographical poetic encounters deliberately to witness our own diverse routes to critical literacy education. We arrived at critical literacy in our lives through critical praxis before we encountered the theoretical foundations of the concept. This is a dynamic we have seen in communities where action and reflection come before or even without a formal theory. This may be due to the fact that action and transformation play a central role in the ways people embrace and embody critical literacy. Before Paulo Freire wrote about literacy from a critical perspective, he worked with the community and reflected about their social actions. Freire’s personal history paved the ground to his theory as he learned early in life about the social injustices and political struggles Brazilian people faced through conversations with his father (Schugurensky, 2011). He learned from his parents how to read and write, and his first teacher, Eunice Vasconcelos, was also a model of teaching (Schugurensky, 2011). Elza Freire, a primary school teacher and Paulo’s spouse, introduced education in his life (Spigolon, 2016). These experiences were the foundations of Freire’s approach to rely on the learners’ vocabulary as a departing point for building meaning and literacy, through the work with generative themes and words (Freire, 1970). Elza was fundamental in the elaboration, systematization, and the reasoning of the Paulo Freire method (Spigolon, 2016). Elza and his mother influenced his decision to be part of progressive Catholic movements that based their actions in the liberation theology (Schugurensky, 2011). During a decade of work at SESI (Serviço Social da Indústria), Freire entered into contact with the realities of working-class people in Brazil (Schugurensky, 2011). Although his theoretical antecedents were mostly authors from the Global North (e.g., Dewey, Marx, and Hegel), his experience in the Global South shaped his approach to critical literacy and popular education (Roberts, 2015). We want to address this relationship before we move forward with the conceptualization of critical literacy. Popular Education and Critical Literacy Critical literacies are closely tied to popular education because they both constitute ethical and political proposals for social transformation. Rooted in Latin American thought and realities, the popular education movement has its foundations in the independentist efforts and struggles. The ideas of Simón Rodríguez, Simón Bolívar’s teacher, planted the seed of what he called popular education: (1.) an education to become American, instead of European (South and North America as a whole continent); (2.) an education to reach freedom; and, (3.) an education to be able to work and live independently (Mejía, 2011). During the first half of the twentieth century, popular 15 Lina Trigos-Carrillo et al. education universities were founded in Mexico, El Salvador, and Peru to educate the working class with a strong consciousness about their place and role in history and organization as a principle to defend their rights (Mejía, 2011). In Bolivia and Peru, movements to create schools based on indigenous thinking, such as the Ayllu de Warisata School, posed the need for an education grounded in the indigenous culture and epistemologies, which consider education as movement and as a process of cultural creation and social transformation that happened in the community (Mejía, 2011). In the 1960s, Paulo Freire started the Movement of Popular Culture and developed his pedagogy for popular education. Torres-Carrillo (2016) defines popular education as a set of social and discursive educational practices intended to center people from popular segments in society so that they become protagonists of social transformation based on their own interests and emancipatory visions of the future. Knowing the origins of popular education is important to understand the tenets of critical literacy because literacy education was interwoven in the movements of popular education as its leaders worked with communities who were illiterate. The epistemological foundations of literacy education lay on the power of social transformation and not on the functional purposes of literacy. This, tied to the particular sociopolitical circumstances in which popular education emerged, pushed toward critical approaches to literacy education. Critical literacy’s departing point is the reality of the people and the critical reading of that reality; it crosses the walls of the school; it takes into account the power dynamics in the ways of knowing; and it is an ethical and political initiative to achieve social transformation (Mejía, 2011). Teaching in the context of critical pedagogies and popular education in Latin America is characterized by a pedagogy of dignity; teaching rooted in hospitality and generosity; teaching to preserve the memory and history of communal identity; teaching that centers historical knowledge to build historical consciousness, to rethink the present, and radically imagine the future to transform unjust social structures; and a pedagogy based on processes of cultural negotiation, confrontation, and dialogue of “saberes” (knowledges/wisdom) (Cappellacci et al., 2018; Quintar, 2018). The group-centered spirit of popular education has deep roots in the United States as well. Popular education was at the core of the Highlander Center in New Market, Tennessee, which was the hub of labor rights (1930s) and civil rights organizing (1950s) and, currently focuses on immigrant rights. The popular education process relies on horizontal relationships between people who jointly inquire and analyze a social problem, plan, take action, and reflect. For example, the goal of the Citizenship Schools—and teachers such as Bernice Robinson, Septima Clark, and Alice Wine—was for African Americans to achieve voting rights by passing literacy tests required at polling places during Jim Crow. To do this, organizers/educators used voter registration materials as the basis for literacy education across the south (Bell, Gaventa, & Peters, 1990; Stokes-Brown, 1990). Together, they engaged in a problem-posing, problem-solving method of education. Critical Literacy in Action According to Menezes de Souza (2007) in the first volume of the journal Critical Literacy: Theories and Practices, if literacy is “a socio-culturally situated practice involving the ongoing negotiation of meaning in continuously contested sites of meaning construction, then all literacy in a certain sense ought to be ‘critical’ ” (p. 4). However, the emphasis on the word “critical” relates to a major attention “to literacy in issues relating to citizenship education, development education, foreign-language education and teacher education as sites of various socio-cultural crises in the form of continuously contested meaning construction and negotiation” (p. 4). From our own experiences, we share three examples of critical literacy in action. Each of these vignettes emphasize the critical, creative, and collective forms of practice, reflection, theorizing, and 16 Critical Literacy acting that are necessary to imagine and build hopeful futures. They represent “glocalized” flows of knowledge, power, and organizing; that is, energies that are both local and global. For example, the global politics on climate change impacts food security in Latin America and Africa. Finally, literacies are positioned in a dialectical relationship with social movements—part of the texts, talk, interactions, signs, songs, and ever-reaching multimodal landscape—that create and represent social movements. Within each of these snapshots of global critical literacy praxis, we draw attention to the intellectual roots that have informed and inspired this work. Vignette 1: Popular Education in a Community of Former Guerrilla Members and Their Families In 2016, the FARC-EP, one of the oldest guerrilla groups in Latin America, and the Colombian government signed a peace agreement to put an end to more than 50 years of armed conflict. The peace negotiation focused on six major topics: integral rural reform, political participation, the end of the armed conflict, a solution to drug trafficking, victims’ compensation, and implementation and verification mechanisms. Nearly 3,000 guerrilla members who endorsed the peace agreement moved to the 24 Territorial Spaces for Training and Reincorporation (ETCR in Spanish) that were created to support the transition process. In La Montañita, Caquetá, almost 300 guerilla members and their families started the reintegration process at ETCR Héctor Ramírez. This community, committed to maintaining and strengthening peace, has managed to buy this land and built the Centro Poblado Héctor Ramírez. The town is organized around a community cooperative that manages the income obtained through sustainable productive projects, such as pineapple, passion fruit, and coffee crops, fishing, and ecotourism. In 2020, around 250 adults and 60 children live in the community, which is organized around the indigenous philosophy of “Buen Vivir” (Good Living), “conceptualized as collective and integrative well-being, where the subject of wellbeing is not the individual, but the relation between an individual and his/her specific cultural-natural environment” (Chaves, Macintyre, Verschoor, & Wals, 2018, p. 153; Morin & Delgado, 2014). Buen Vivir philosophy in the community looks for equitable education, health, housing, and food for everyone. Community people possess deep knowledge about the plants and the land, the animals, and their ecosystems, the weather and agriculture, among other things, developed during the years living in the mountains. Education is highly important. Among the educational initiatives, a library named after former guerrilla member Alfonso Cano—a leader of critical education—was opened in 2018. In the process of peacebuilding, the library has become a thinking center and the space for the design and implementation of educational activities. Even though people in this community have not read Paulo Freire, they live and embody a critical consciousness and the main tenets of critical literacies in their daily life. The community organized an Education Committee, in a horizontal alliance with a university, to co-construct a relevant and own educational model for the community. This model is characterized by: (1.) the recognition of local knowledges, practices, and identities; (2.) a critical lens toward rural education; (3.) transformative praxis and political commitment in education; and (4.) education that works to achieve Buen Vivir in the community. In this context, critical literacies take different forms; for example, the town houses are decorated with murals that contest dominant narratives about the former guerrilla members and their identity; ex-combatants write their own stories and visions of the future in crónicas; children learn about the history of the armed conflict and rural traditions through theater and playwriting; children learn about the importance of the land and its conservation through an analysis of the global forces that influence their relationship with the land as well as local practices of sustainable food production; the popular library Alfonso Cano organizes activities and events to promote a critical reading of social reality in the process of peacebuilding; and, finally, children and youth create their own critical 17 Lina Trigos-Carrillo et al. means of communication through a community newspaper and a local radio, where they offer analysis and versions of the news that resist stereotyped representations of the community on the dominant media. With this, the community uses literacy beyond its functional purposes, as a praxis to read, rewrite, and transform their rural social realities. Vignette 2: Pedagogy of the Earth and the Landless Movement In 2005, a group of Brazilian peasants, members of social movements, entered the undergraduate Pedagogy of the Earth course at the Federal University of Minas Gerais, Brazil (UFMG). The teacher education program was the result of a partnership between the Ministry of Agrarian Development, the Landless Movement, the Via Campesina social movement, and the National Institute of Colonization and Agrarian Reform (Incra). The graduates from the program would be able to work as teachers in their communities of origin (campings and settlements) as teachers of Language Arts (including foreign languages); mathematics; life and natural sciences; social sciences; and humanities. The program curriculum was based on the pedagogy of alternation, which combines classroom and distance education. The academic year was organized into classroom and non-classroom modules, or school-time and community-time for students to engage in learning in the city (university/ school) and the country (community). The “community time” was spent in each of the students’ communities, settlements, or occupied encampments, where families wait to be settled for an unknown amount of time. Despite the communities being under-resourced, the pedagogy of the earth was coherent with the social movement education premise that students need to engage in socially beneficial work. Caldart (2009) states that the movement’s agenda included education as a result of the lack of schools in the settlements where the militants lived, or camps where landless families lived while fighting for the right to the land. The movement’s educational perspective criticized the “rural” approach to education, which did not reflect their peasant identities. However, it was necessary to transform public schools for the achievement of the movement’s educational goals, a “transition within the MST—from a movement of popular educators to a movement of public school teachers” (Tarlau, 2015, p. 5). A new pedagogy is developed within the movement, firmly based on Freire’s critical pedagogy and the liberation theology, as well as the thoughts of Gramsci and Florestan Fernandes. Our teacher education program was a response to the need to educate teachers of the movements to teach in (more appropriately named) “country” schools. All the students were peasants—activists fighting for the redistribution of land, the conditions to produce food, and live a dignified life (Tarlau, 2015). Thus, the Pedagogy of the Earth represents an ethical and political approach to transformative education led by activists concerned with critically reading their reality for transformational actions. Critical literacies are enacted through the constant analysis of the texts originated in the university’s discourses, challenging potential asymmetrical power relations regarding different ways of knowing and doing within the university and the social movement. According to Leher and Vittoria (2015), the education of the landless movement converges popular education and Marxist Critical Pedagogies. Every day during the school-time immersion on the university campus, students prepared a mystical introduction to the day (mística), which summarized the previous day’s experiences. The mística is understood as a symbolic political representation, a cognitive praxis, and a social movement frame for the interpretation and articulation of counterhegemonic alternatives (Issa, 2007). The místicas were the dramatic enactment of significant events, represented through written texts, drawings, and elements of their work and struggle, such as seeds, earth, tools, and agricultural tools. After a long day of class, the students got together to make sense of the education provided by college professors within the movement’s pedagogy for country schools. 18 Critical Literacy Vignette 3: A Grassroots Teacher Activist Group In the early 2000s teachers across the United States faced the growing pressures of neoliberal forces: school closures, high-stakes tests, decreased autonomy of teachers, dramatic reductions in school spending. It was during this time that grassroots teachers’ groups sprouted up around the United States—from Chicago to New York City, Washington DC, and San Francisco to St. Louis. What united many of these groups was the agency of educators to envision and create alternative realities for public education; realities infused with social justice pedagogy. In 2000, Mary Ann Kramer and I, Rebecca, started a teacher inquiry group focused on generating critical literacies in classrooms across the lifespan. We invited a diverse group of teachers to collaboratively move through the cycle of popular education, inquiring, reflecting, and acting together. Over time, this small group grew into a network called Educators for Social Justice (ESJ), which includes over 1,000 educators and many dedicated leaders (including a current majority Womyn of Color Board). This group was born out of the need to reinvigorate a critical project in literacy education—linking literacy education to social and political struggles. For years, we worked together to create classroom- and community-based instances of critical literacy practice. Whether advocating for human rights at the Old Court House, designing a campaign for adult literacy education, creating Teach-Ins to support racial justice, supporting adult education students in their efforts to keep their school open, hosting a Banned Books celebration, or crafting Solidarity Statements—we knew that literacy teaching and activism were interconnected; one infusing the other. As we organized for social movements, we drew on and created powerful literacy practices to change social conditions. In our individual and collective social movement organizing and activism—from the womyn’s movement, civil rights movement, anti-nuclear movement, immigrant rights movements to organizing within schools and for environmental rights—we collectively discerned that group-centered leadership and popular education were central principles guiding our work. Several of us attended organizing workshops at Highlander, a popular education center in New Market, Tennessee. We drew on the wisdom of organizers and educators such as John Berry Meachum and Mary Meachum and the abolitionist teaching on the Freedom Schools in the Mississippi River (Webster Moore, 1973), Ella Baker and the Student Non-violent Coordinating Committee and Black Freedom Movement (Ransby, 2003), Septima Clark, Joann Robinson, Myles Horton and the Citizenship Schools (Stokes-Brown, 1990). They offer examples of group-centered leadership that are strategic and have historical roots that continue to impact the education for liberation movement today. In 2009, participants in this group collectively wrote a book which features both case examples of critical literacy practice across the lifespan and also theoretical and pedagogical for enacting critical literacy education (Rogers, Mosley, Kramer, & LSJTRG, 2009). This model includes the elements of building community, developing critical stances, critical inquiry and analysis, and action. At the heart of this framework is the popular education cycle which is committed to a horizontal relation of power whereas people engage in a problem-posing, problem-solving process. In a community, teachers can practice criticality and take action to change the material conditions of their classrooms, schools, and communities. We reframe the “teaching of critical literacy” to “organizing for social justice” and, in this process, critical literacies emerge. Along the way, there have been debates about the amount of emphasis placed on awareness raising and social action. ESJ has done both. There have been material differences made through this collective work. The network itself was a material outcome of critical literacy praxis. That is, the building of a network is a form of organizing from which critical literacies emerge. Adult literacy teachers and students organized to keep a school open. For 15 years, teachers organized a social justice conference at a local school. We have organized rapid-response Teach-Ins to speak out about continued police brutality. In these forums, educators learn how to address racial violence as part 19 Lina Trigos-Carrillo et al. of the literacy curriculum. We continue to work in coalition with regional organizations to change school district policy around the suspension of Children of Color from school. These efforts matter to keep children in school and #BTP (#Break the School to Prison Pipeline). ESJ creates a counternarrative that showcases educators who have reclaimed professional development and are leading the grassroots educational reform. The network continues to live outside of formalized institutions of teacher education and higher education. Through teacher-led, radical professional development, ESJ provides a “meeting space” for educators across the region and across the life span to connect, inspire, and organize for social justice in their schools. * The three vignettes highlight transformations in the way people enact and embody critical literacy around the globe. First, these initiatives are born in the community out of a necessity for social change. That is, there is a sense of urgency as they respond to current social concerns. Second, the vignettes represent communal efforts with horizontal power relationships, where participation, learning, and collaboration take place. Third, across the vignettes there is a link between the materiality of organizing for social justice and critical literacy praxis. In these contexts, critical literacy is not an intentional practice planned by a teacher or leader, it is the organic result of social action. It moves beyond critical awareness and installs itself at the core of social organization. Finally, the three vignettes center epistemologies of the South by moving Black, indigenous, rural/country knowledges/values to the heart of social organization and praxis. They occur in the everyday, inand-out of school, communal experience of people who are already empowered to take over social action. Critiques of Critical Literacy In our own work as critical literacy scholars, we have been aware of the continued debates about the role of critical literacies in social transformation. Freire’s life and legacy are often used interchangeably with critical literacy. Tuck and Yang (2012) make the point that Freire situates the work of liberation in the minds of the oppressed without comprehensive recognition of settler colonialism. They argue that liberation, in this sense, becomes a metaphor of the mind and the “rest will follow.” Put in this way, the project of critical literacy needs to include awareness raising and joining together with social justice movement organizing to avoid “settler harm reduction” (Tuck & Yang, 2012, p. 21). Consciousness raising without struggle to change material conditions that reproduce systemic inequities will not contribute to collective liberation. Some critical literacy frameworks address this reality and insist on a social action component which links educational literacies with movement building (e.g., Lewison, Leland, & Harste, 2007). Given the sociopolitical contexts discussed at the start of this chapter, it is not without surprise that the action component gives educators a great deal of uncertainty. Perhaps, this is one of the reasons that critical literacy has failed to take off in any kind of comprehensive way in teacher education. Morgan (1997) provides an overview of critiques of critical literacy which come mainly from poststructuralists and feminists: (1.) they question the authority of truth as connected with ideological distortions; that is, people coming to understand their “true” oppression/liberation; (2.) trusting radical pedagogical theorists to drive social change is difficult when their arguments are made through dense academic discourses accessible only to the elite; (3.) the conceptions of power as “power-over” or “empower” is problematic; (4.) and, finally, the unproblematic celebration of student difference, life experiences, and voice in the “innocent” concept of “dialogue,” which is often associated with Freirean methods, could be ineffective to achieve social transformation because of 20 Critical Literacy the power relations at play. These critiques are a reminder that critical literacy practices must continually be held up for reflexive analysis. Further, discourses of individuality (ironically) surround critical literacy. This is problematic given the genealogy of critical literacy can be traced to indigenous leaders working in community, freedom fighters, abolitionists, etc. Important in these global antecedents is the role of group-centered leadership and womyn-led efforts. Yet, in current scholarship of critical literacy, the default major citations are given to white men from the Global North (e.g., Giroux, McLaren, Ira Shor, Aronowitz, and Colin Lankshear) (Freire and Allan Luke as an exception in this group). The analysis of the vignettes offers some insights about the new trajectories and challenges of critical literacy in action. Vignette 1 presents a case where critical pedagogies and literacy emerged organically from the community desire to achieve Buen Vivir in the context of peacebuilding. This vignette shows a grassroot organization where social action truly involves communal organization and resistance as they want to maintain their identity while working toward peace amidst the challenges of rural Colombia. The role of academia in this process is to learn, collaborate, and accompany the process in a horizontal relationship, where the community takes responsibility for their needs and desires; scholars are open to learn from the community; and social transformation is embodied collectively in everyday practices. In this context, critical literacy is part of building, reflecting, resisting, creating awareness, and transforming social reality. It also implies a physical and epistemological connection between the urban and rural Other. Vignette 2 shows a case where learners would subvert the traditional approaches to higher education. The after-class meetings and the místicas allowed students to occupy the large estate (latifundio) of knowledge. Members of social movements planned together their future as teachers who would implement bottom-up pedagogies in the mainstream schools of the rural area. These pedagogies were the basis for educating children and youth to resist agro-imperialism and foster sustainable agriculture, fair trade, farmworkers’ rights, and food sovereignty. On the other hand, in a dialogical relation with social movements, the universities had to question power relations across a curriculum. The learners were quite aware of how they wanted to reconstruct and redesign education in their sociopolitical realities, and the university had to invent new ways of teaching, learning, and impacting society. Vignette 3 offers perhaps a typical example of the kind of social justice organizing that occurs from teacher-led groups across the United States. Many of the teachers in the inner circle/leadership were from privileged school contexts (either schools with resources or from higher education). There have been pockets of what could be considered substantive action and modest changes (changes to practice, changes to identity, changes in narratives). Yet, teachers remain undervalued and underpaid, schools are inequitably funded and segregated, and the school-to-prison pipeline still exists. Critical literacy practitioners must connect with social justice unionism to make lasting reforms. Radically Imagining a Future for Transnational Critical Literacy Scholarship Many overviews of critical literacy have been written that have influenced our own understanding of the field (see, Luke, 2012; Morgan, 1997; Morrell, 2008; Vasquez, Janks, & Comber, 2019). In this chapter, we have paid tribute to and push beyond Freire’s work to examine embodied social theories that have guided people in their quest for freedom across time and place. There is a rising push of recent scholarship generated from the Global South that emphasizes the global presence of critical literacy praxis around the world. For example, in Brazil, as part of the National Literacies Project (Monte Mor, 2019), Menezes de Souza (2011) suggests a redefinition of critical literacy that encompasses the pedagogical task of preparing learners for confrontations with differences of all kinds. In his perspective, the Freirean concept of listening acquires vital importance. More than learning to 21 Lina Trigos-Carrillo et al. listen to each other, it is essential to learn to listen to ourselves listening to the other (Menezes de Souza, 2011). Careful and critical listening leads to looking for other forms of interaction that are not even direct confrontation nor the pursuit of the harmonious elimination of differences. Duboc and Ferraz (2018) problematize orientations for critical literacies in fostering language education for social change. These orientations include embracing the contradictions and acknowledging the needs of revision in the field of critical literacies; overcoming the dichotomy between the micro and macro levels of spaces for change; exploring the possibilities of social media for new ways of activism; and emphasizing a sense of belonging among language teacher professional communities. Yet, what if we are not in need of any more scholarship? What if what we need is more strategic organizing and networking as we are engaged in with the Transnational Critical Literacy Network? Our own work for this chapter is a case in point—for many weeks we met across time and place—to consider the lived realities in Colombia, Brazil, and the United States. We shared and listened to each other’s stories, struggles, and experiences. In this process of radically imagining the future of critical literacy, we offer a list of “what ifs” as a starting point to move the field forward. • • • • • • • • • • What if scholars collectively wrote an open letter to professional organizations describing the scholarly integrity and impact of social justice organizing connected to schools, community centers, and institutions of higher education? This letter could make a case for this kind of engaged scholarship and ways to examine its value outside of commonly used academic metrics. What if we learn from social movements already taking place globally and strengthen actionoriented partnerships to imagine new routes for education? What if we change the competitive, individualistic work in academia for community goals and desires? What if we disrupt the logic of academic prestige through publication and start valuing outreach engagement activities? What if we learn from and accept other forms of language and discourse in knowledge building? What if we reflect with the community on their own visions so that our collaboration works toward dignity and generosity? What if we challenge neoliberal perspectives on development that position rural, indigenous, and Global South peoples as deficient? What if we work to build historical memories shaping narratives of marginalized groups that are meaningful for the communities and their realities? What if we take critical literacy education out of the classroom through lasting engagements and commitments with communities? What if . . . References Bell, B., Gaventa, J., & Peters, J. (1990). We make the road by walking: Conversations on education and social change: Myles Horton and Paulo Freire. Temple University. Brooks, J. S., & Normore, A. H. (2010). Educational leadership and globalization: Literacy for a glocal perspective. Educational Policy, 24(1), 52–82. Caldart, R. S. (2009). Educação do campo: notas para uma análise de percurso. Trabalho, Educação e Saúde, 7(1), 35–64. Cappellacci, I., Guelman, A., Loyola, C., Palumbo, M., Said, S., & Tarrio, L. (2018). Disciplinar indómitos y acallar inútiles: la Educación Popular y las Pedagogías Críticas interpeladas. In A. Guelman, F. Cabaluz, & M. Salazar (Eds.), Educación Popular y Pedagogías Críticas en América Latina y el Caribe (pp. 27–42). CLACSO. Chaves, M., Macintyre, T., Verschoor, G., & Wals, A. (2018). Radical ruralities in practice: Negotiating buen vivir in a Colombian network of sustainability. Journal of Rural Studies, 59, 153–162. Duboc, A., & Ferraz, D. de M. (2018). Reading ourselves: Placing critical literacies in contemporary language education. Revista Brasileira de Linguística Aplicada, 18(2), 227–254. 22 Critical Literacy Freire, P. (1970). Pedagogy of the oppressed. Seabury Press. Issa, D. (2007). Praxis of empowerment: Mística and mobilization in Brazil’s landless rural workers’ movement. Latin American Perspectives, 34(2), 124–138. Leher, R., & Vittoria, P. (2015). Social movements and critical pedagogy in Brazil: From the origins of popular education to the proposal of a permanent forum. Journal for Critical Education Policy Studies, 13(3), 145–162. Lewison, M., Leland, C., & Harste, J. (2007). Creating critical classrooms: K-8 reading and writing with an edge. Routledge. Luke, A. (2012). Critical literacy: Foundational notes. Theory into Practice, 51(1), 4–11. Mejía, M. (2011). Educación y pedagogía en América Latina, una práctica con historia. En Viceministerio de Educación Alternativa y Especial (Eds.), Educaciones y pedagogías críticas desde el sur: Cartografías de la educación popular (pp. 15–35). CEAAL. Menezes de Souza, L. M. (2007). Editor’s preface. Critical Literacy: Theories and Practices, 1(1), 4–5. Menezes de Souza, L. M. (2011). Para uma redefinição de letramento crítico: conflito e produção de significação. In R. F. Maciel & V. A. Araújo (Eds.), Formação de Professores de Línguas: ampliando perspectivas (1st ed., pp. 128–140). Paco Editorial. Monte Mor, W. (2019). Formação Docente e Educação Linguística: uma perspectiva linguístico-cultural-educacional. In W. M. Silve & R. Muñoz Campos (Eds.), Desafios da Formação de Professores na Linguística Aplicada (pp. 187–206). Pontes. Morgan, W. (1997). Critical literacy in the classroom: The art of the possible. Routledge. Morin, E., & Delgado, C. (2014). Reinventar la educación: hacia una metamorfosis de la humanidad. Multiversidad Real Edgar Morin. Morrell, E. (2008). Critical literacy and urban youth: Pedagogies of access, dissent, and liberation. Routledge. Quintar, E. (2018). Crítica teórica, crítica histórica. Tensiones epistémicas e histórico políticas. In A. Guelman, F. Cabaluz, & M. Salazar (Eds.), Educación Popular y Pedagogías Críticas en América Latina y el Caribe (pp. 15–26). CLACSO. Ransby, B. (2003). Ella Baker and the Black freedom movement. University of North Carolina Press. Roberts, P. (2015). Paulo Freire and Utopian education. Review of Education Pedagogy and Cultural Studies, 37(5), 376–392. Rogers, R., Mosley, M., Kramer, M., & LSJTRG. (2009). Designing socially just learning communities: Critical literacy education across the lifespan. Routledge. Schipani, A. (2017). Rightwing populist firebrand eyes presidency in Brazil. FT.Com. Retrieved from http:// ezproxy.umsl.edu/login?url=https://search-proquest-com.ezproxy.umsl.edu/docview/1975513675?accoun tid=14595 Schugurensky, D. (2011). Intellectual biography. In B. Richard (Ed.), Continuum library of education thought Paulo Freire (pp. 10–48). Continuum. Snider, C. M. (2018). “The perfection of democracy cannot dispense with dealing with the past”: Dictatorship, memory, and the politics of the present in Brazil. The Latin Americanist, 62(1), 55–79. Spigolon, N. (2016). “Escritos Íntimos” e Escrita de si: Por entre as páginas e a vida de Elza Freire. Revista Brasileira De Pesquisa (Auto)Biográfica, 1(2), 254–268. Stokes-Brown, C. (Ed.) (1990). Ready from within: A First person narrative of Septima Clark and the civil rights movement. Africa World Press. Tarlau, R. (2015). How do new critical pedagogies develop? Public education, social change, and landless workers in Brazil. Teachers College Record, 117(11). Torres-Carrillo, A. (2016). Educación Popular y Movimientos Sociales en América Latina. Biblos. Tuck, E., & Yang, W. K. (2012). Decolonization is not a metaphor. Decolonization: Indigeneity, Education, & Society, 1(1), 1–40. Vasquez, V., Janks, H., & Comber, B. (2019). Critical literacy as a way of being and doing. Language Arts, 96(5), 300–311. Webster Moore, N. (1973). John Berry Meachum (1789–1854): St. Louis Pioneer Black abolitionist, educator, and preacher. Missouri Historical Society Bulletin, 29(2), 94–103. Zinn, H. (2005). A people’s history of the United States. Harper Perennial Modern Classics. 23 1.3 LITERACIES UNDER NEOLIBERALISM Enabling Ethnonationalism and Transnationalism Rohit Mehta, Csilla Weninger, and David Martínez-Prieto Introduction Critical literacies, in a Freirean sense, are acts of subversion of texts to question historical and social constructions and enforcements of power differentials in the world (Freire, 2018; Shor, 1999). In youth discourses, critical literacies are manifested through critiques of dominant ideologies and political systems, active engagement in sociopolitical and cultural discourses, participation in exploration and creation of complex self-identities, and expressions of solidarity with others who have been socially or systemically marginalized (Goodman & Cocca, 2014; Luke, 2014). Historically, the liberating agency of critical literacies has been seen as a threat to the status quo by the powerful private interests who benefit from the extant social and economic systems (Chomsky, 1999; Goodman & Cocca, 2014). These interests—commonly associated with neoliberalism by its academic critics—prefer the state’s assistance in the privatization of public sectors and creation of free markets for them to commoditize and profit from public spheres such as education, postal services, or health care (Giroux, 2014; Hursh, 2005). In this chapter, we share examples of critical literacies that challenge neoliberal and ethnonationalist interests and complicate transnationalism. In recent decades, educational institutions across the world have reconstituted themselves to operate based on hyper-capitalist market models. The growing corporate push to monetize teaching and learning has perpetuated neoliberal values, ideals, and principles into youth literacies and discourses, and language education (Giroux, 2014; Schmeichel, Sharma, & Pittard, 2017). In formal settings, this has meant, among other things, the introduction of corporate management systems and accountability, evident in the prevalence of high-stakes testing as well as ranking and performance monitoring systems. Within education, the neoliberal model has reduced literacies to the mercy of decontextualized skills training and standardized assessments that claim to measure the quality of their product: students, who are both commodity and labor for the market (Apple, 2000; Au, 2016). Building standards and monolithic curricula to control youth literacies and produce new labor for the global market can be compared to a form of colonization proliferated through digital technologies, fueled by neoliberal globalization (Reyes & Segal, 2019; Sah, 2020). In more informal settings, with digital technologies and the internet, more youth are engaging in new literacies on social media platforms to market themselves as brands (influencers)—where they make and become marketable products transacted within a digital free market. More recently, when COVID-19 pushed a transition to online work and education across the world, the internet became an even more crucial space for civic engagement and critical literacies, DOI: 10.4324/9781003023425-4 24 Literacies Under Neoliberalism while at the same time pulling more consumers into a neoliberal global economy. Neoliberalism in the digital age raises major concerns not only for literacies and language education but also for local and global citizenship and identity. As users of a corporate-controlled internet grow and education is being privatized, these neoliberal ontologies are showing potential to colonize what is left of indigenous and local literacies—those historically marginalized by dominant ways of being, knowing, and doing (Au, 2016; Cazden, 2002; Salas & Portes, 2017)—especially in the “Global South.” Further, to keep global control and maintain power, neoliberal values, ideals, and principles have even been found intersecting with global nationalistic forces, such as ethnonationalism and transnationalism, in ways that have repercussions for individual and social freedom and dignity. As a challenge to neoliberal influence, transnational critical literacies scholarship calls for critique of current policies and practices in literacies and language education and counter the marginalization and dehumanization of those without sociopolitical and economic power (Siebers, 2019). We review the extant literature that dissects the role of neoliberalism in education and discuss current concerns for literacies under neoliberalism. We present instances from global discourses to demonstrate the active role of critical literacies in countering neoliberalism. Framing our argument around digital technology and its role in enabling ethnonationalism and shaping transnationalism, we follow with possible attempts to counter the potential effects of neoliberalism on literacies education and, more broadly, global citizenship. Definitions of Key Concepts Literacies As the form of the word implies, literacies denote a pluralistic conceptualization of what it takes for people to successfully function as meaning-makers in diverse communic
5858	dbpedia	0	14	https://www.flickr.com/photos/124651729%40N04/47548377731	en	Old San Juan - Eugenio Maria de Hostos Statue	https://live.staticflick…8fb9d2f9dd_b.jpg	https://live.staticflick…8fb9d2f9dd_b.jpg	[ "https://live.staticflickr.com/7806/47548377731_8fb9d2f9dd.jpg", "https://live.staticflickr.com/7806/47548377731_8fb9d2f9dd.jpg" ]	[]	[]	[ "cruising", "cruise", "carnivalcruiseline", "caribbeancruising", "caribbeansea", "caribbeanisland", "puertorico", "oldsanjuan", "publicart", "eugeniomariadehostosstatue", "josebuscaglia", "oldsanjuanpublicart", "puertoricopublicart", "greaterantilles" ]	null	[ "Flickr", "Larry Syverson" ]	2024-08-16T02:18:54.880000+00:00	I saw this outdoor sculpture during a walkabout in Old San Juan, Puerto Rico. It is as statue of Eugenio Maria de Hostos who is a famous Puerto Rico educator, philosopher, intellectual, lawyer, sociologist and independence advocate. He is called "The Citizen of the Americas". The statue is by Jose Buscaglia.	en	https://combo.staticflickr.com/pw/favicon.ico	Flickr	https://www.flickr.com/photos/124651729@N04/47548377731	I saw this outdoor sculpture during a walkabout in Old San Juan, Puerto Rico. It is as statue of Eugenio Maria de Hostos who is a famous Puerto Rico educator, philosopher, intellectual, lawyer, sociologist and independence advocate. He is called "The Citizen of the Americas". The statue is by Jose Buscaglia.
5858	dbpedia	1	19	https://www.encyclopedia.com/people/social-sciences-and-law/education-biographies/eugenio-maria-de-hostos	en	Eugenio Maria De Hostos			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about Eugenio Maria De Hostos", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about Eugenio Maria De Hostos", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	Eugenio María de Hostos >Eugenio María de Hostos (1839-1903) was a major Puerto Rican social >philosopher, educator, and writer. His lifelong mission was to create a >Spanish West Indies [1] Confederation. Eugenio María de Hostos was born in Mayagüez on Jan. 11, 1839.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/social-sciences-and-law/education-biographies/eugenio-maria-de-hostos	Eugenio María de Hostos Eugenio María de Hostos (1839-1903) was a major Puerto Rican social philosopher, educator, and writer. His lifelong mission was to create a Spanish West Indies Confederation. Eugenio María de Hostos was born in Mayagüez on Jan. 11, 1839. He attended school in San Juan. At the age of 13 he went to Spain to study at the Institute of Bilbao and the University of Madrid. While studying law, he wrote newspaper and magazine articles on the need for autonomy for the Spanish West Indies. He joined the Spanish republicans because their leaders promised autonomy for Cuba and Puerto Rico; but when the republicans triumphed over the monarchy, he refused the post of deputy for Puerto Rico, feeling betrayed. In 1869 he left for New York, where he became managing editor of a Cuban revolutionary newspaper. He was already well known because of his sociopolitical novel, La peregrinacion de Bayoán (1863), as well as his articles. From 1870 to 1874 Hostos sought aid for Puerto Rico and Cuba. He lived in Argentina and then, returning to New York, became involved in a mission to carry reinforcements to the Cubans, who were fighting for their independence. However, the expedition of which he was part sailed from Boston but never arrived in Cuba. Hostos next went to the Dominican Republic, where he edited Las tres Antillas. In 1877 he left for Venezuela, where he married Belinda Otilia de Ayala. Returning to the Dominican Republic in 1879, Hostos became a teacher at Santo Domingo National University. During his 10 years there, he started the country's first normal school. He also wrote the Dominican laws for public education. His reputation as an educator was such that the government of Chile invited him to help reform its public educational system. He had just published his Moral social (1888), today considered one of his finest writings. While in Chile, Hostos gained that country's women the right to study at the university and to receive training in law and medicine. When the Spanish-American War began in 1898, Hostos returned to Puerto Rico to work for both Puerto Rican and Cuban independence. He formed the League of Puerto Rican Patriots and led the commission that presented U.S. president William McKinley with a plan that would allow a Puerto Rican plebiscite to decide whether Puerto Rico should be annexed to the United States or become independent. The commission failed and no plebiscite was held. Hostos left Puerto Rico in 1900, again disillusioned. He could not understand the United States desire for a Caribbean protective base for its future trade plans and its plans for Panama. He returned to Santo Domingo, at that government's invitation. He died there on Aug. 11, 1903. Hostos's influence as an educator and social critic continues; his moral strength, passionate idealism, and personal magnetism are remembered to this day. His writings—over 50 titles—are still read throughout the Spanish-speaking world. His Hamlet (1873) ranks high among criticisms of the play. Commemorating the centennial of his birth, the government of Puerto Rico published the Obras completas of Hostos in 20 volumes. Further Reading
5858	dbpedia	0	55	https://www.tiktok.com/discover/The-elites-in-puerto-rican%3Flang%3Dur	en	Make Your Day			[]	[]	[]	[ "" ]	null	[]	null		en			null
5858	dbpedia	2	60	https://arcadiodiazquinones.com/portfolio/gilberto-concepcion-de-gracia-2016/	en	Gilberto Concepción de Gracia (1909	https://arcadiodiazquino…/10/gilberto.jpg	https://arcadiodiazquino…/10/gilberto.jpg	[]	[]	[]	[ "" ]	null	[]	2016-06-21T17:35:09+00:00	Concepción de Gracia’s New York years (1936–1939) were the beginning of a life dedicated to the liberation of Puerto Rico. He worked closely with American Labor Party Congressman Vito Marcantonio (1902–1954), with whom he enjoyed a personal friendship. Marcantonio played a critical role in the defense of Albizu Campos and consistently supported Puerto Rican independence…	en	https://arcadiodiazquino…arca-favicon.png	Arcadio Díaz-Quiñones	https://arcadiodiazquinones.com/portfolio/gilberto-concepcion-de-gracia-2016/	Concepción de Gracia’s New York years (1936–1939) were the beginning of a life dedicated to the liberation of Puerto Rico. He worked closely with American Labor Party Congressman Vito Marcantonio (1902–1954), with whom he enjoyed a personal friendship. Marcantonio played a critical role in the defense of Albizu Campos and consistently supported Puerto Rican independence in the US Congress. Concepción de Gracia also joined forces with Puerto Rican and Latin American militants with whom he shared patriotic values. He immersed himself in the Puerto Rican communities of East Harlem and Washington Heights, participating in demonstrations against racial, class, and cultural discrimination. He became a powerful political orator and also wrote for Spanish newspapers. He spoke out in defense of the Spanish Republic during the Spanish Civil War (1936-1939) in events sponsored by an antifascist coalition. Díaz-Quiñones, Arcadio. “Concepción de Gracia, Gilberto (1909-1968).” Dictionary of Caribbean and Afro-Latin American Biography, vol. 1, edited by Franklin W. Knight and Henry Louis Gates, Jr., Oxford UP, 2016, pp. 203-05.
5858	dbpedia	0	5	https://www.goodreads.com/book/show/4892600-eugenio-mar-a-de-hostos	en	Eugenio María de Hostos	https://s.gr-assets.com/…93237a214a0e.png	https://s.gr-assets.com/…93237a214a0e.png	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1723667883i/433.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/no-cover.png", "https://dryofg8nmyqjw.cloudfront.net/images/no-cover.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/authors/1316116062i/1686680._UX200_CR0,35,200,200_.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/badge-apple_app_store@2x.png", "https://dryofg8nmyqjw.cloudfront.net/images/badge-google_play_store@2x.png" ]	[]	[]	[ "" ]	null	[ "Eugenio María de Hostos" ]	null	Read reviews from the world’s largest community for readers. Spanish	en	/favicon.ico	Goodreads	https://www.goodreads.com/book/show/4892600-eugenio-mar-a-de-hostos	Spanish Known as "El Ciudadano de América" (meaning: The Citizen of the Americas), was a Puerto Rican educator, philosopher, intellectual, lawyer, sociologist and independence advocate.
5858	dbpedia	1	62	https://aculturame.com/2023/04/01/a-birthday-weekend-in-mayaguez/	en	A Birthday Weekend in Mayagüez	https://aculturame.com/w…hostos.jpg?w=900	https://aculturame.com/w…hostos.jpg?w=900	[ "https://aculturame.com/wp-content/uploads/2023/03/plaza-colon-1.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/eugenio-maria-de-hostos-1.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/eugenio-maria-de-hostos.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/04/catedral-of-nuestra-senora-de-la-candelaria.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/mayaguez-1.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/04/town-hall-in-mayaguez-1.jpg?w=1112&h=834", "https://aculturame.com/wp-content/uploads/2023/03/cultura-de-mayaguez.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/chillo-filet.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/pique.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/03/james-bond-martini-1.jpg?w=1112&h=1440", "https://aculturame.com/wp-content/uploads/2023/03/coffee.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/05/playa-buye.jpg?w=1112&h=1483", "https://aculturame.com/wp-content/uploads/2023/05/playa-buye-1-1.jpg?w=1112&h=1483", "https://0.gravatar.com/avatar/f55d071ec6b664e65db395763d48f099947ad4924e998cabfeb1dbda173ea1a9?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/80803a6d347dce491d9234c892782e16724f3de11ae1dd8360155c7721b5c196?s=65&d=identicon&r=G", "https://0.gravatar.com/avatar/f55d071ec6b664e65db395763d48f099947ad4924e998cabfeb1dbda173ea1a9?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/e86fe0ac73157b1e89c71f813e04c2e5f955facf8a39dd3733d98d3254174cf6?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/80803a6d347dce491d9234c892782e16724f3de11ae1dd8360155c7721b5c196?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/e86fe0ac73157b1e89c71f813e04c2e5f955facf8a39dd3733d98d3254174cf6?s=65&d=identicon&r=G", "https://1.gravatar.com/avatar/466bd4f7099db991707b665712a059ffa212c547048aa757598d19ab71c3396c?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/80803a6d347dce491d9234c892782e16724f3de11ae1dd8360155c7721b5c196?s=65&d=identicon&r=G", "https://1.gravatar.com/avatar/4cfd999efdc9229565b5afdd8c4ef7e3c65978014060cf5185269a5a26c519f6?s=65&d=identicon&r=G", "https://2.gravatar.com/avatar/80803a6d347dce491d9234c892782e16724f3de11ae1dd8360155c7721b5c196?s=65&d=identicon&r=G", "https://1.gravatar.com/avatar/4cfd999efdc9229565b5afdd8c4ef7e3c65978014060cf5185269a5a26c519f6?s=65&d=identicon&r=G", "https://aculturame.com/wp-content/uploads/2018/03/dsc00357b.jpg?w=950&h=633&crop=1", "https://aculturame.com/wp-content/uploads/2016/09/dsc00245-wm1.jpg?w=950&h=633&crop=1", "https://aculturame.com/wp-content/uploads/2016/01/chuba-2.jpg?w=950&h=633&crop=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2023/02/cacike-cacibaopil-martin-d.-veguilla.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2020/06/cerro-de-san-pedro-3.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2017/01/zacahuil18-copy1.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2016/01/chuba-2.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2015/01/early-mississippian-ruler-of-cahokia.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2020/10/pozole-blanco.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2022/12/historic-occoquan-4.jpg?resize=200%2C200&ssl=1", "https://i0.wp.com/aculturame.com/wp-content/uploads/2018/09/dsc09019a.jpg?resize=200%2C200&ssl=1", "https://gabrieleromano.files.wordpress.com/2018/12/cropped-typewriter-with-paper-2.png?w=200", "https://leightontravels.com/wp-content/uploads/2019/09/cropped-Leighton-Travels-travel-reports-short-stories.jpg?w=200", "https://0.gravatar.com/avatar/05b6eb404b68658e5ee75611cd13899edacc6e417c54b71bcf3cc9e2b671c638?s=200&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png&r=G", "https://lingointransit.files.wordpress.com/2020/01/cropped-img-20190419-wa0022.jpg?w=200", "https://handstandsaroundtheworld.files.wordpress.com/2021/05/cropped-logo.png?w=200", "https://lookoomehome.files.wordpress.com/2019/05/cropped-logo3.jpg?w=200", "https://2.gravatar.com/avatar/e86fe0ac73157b1e89c71f813e04c2e5f955facf8a39dd3733d98d3254174cf6?s=200&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png&r=G", "https://secure.gravatar.com/blavatar/90aaeb6f82c469fa0d2c987cf5a21b941e851deb680b0d10a777d72cbb408477?s=200", "https://trueliving356home.files.wordpress.com/2020/04/image-2.jpg?w=200", "https://compassandcamera.files.wordpress.com/2021/03/ccicon.jpg?w=200", "https://feminismandreligion.files.wordpress.com/2024/07/frieda-1.jpg?w=800&resize=200%2C200", "https://mysliceofmexico.files.wordpress.com/2024/05/panaderia-nuevo-leon-front-window.jpg?w=800&resize=200%2C200", "https://lovetravellingallaroundtheworld.files.wordpress.com/2024/03/img_3017-1.jpg?w=800&resize=200%2C200", "https://i0.wp.com/latitudeadjustmentblog.com/wp-content/uploads/2024/04/Susan-618-5.jpeg?resize=200%2C200&ssl=1", "https://mysliceofmexico.files.wordpress.com/2024/05/tres-leches-cake-my-slice-of-mexico.jpg?w=800&resize=200%2C200", "https://i0.wp.com/latitudeadjustmentblog.com/wp-content/uploads/2024/06/DSCN2767-1.jpeg?resize=200%2C200&ssl=1", "https://mysliceofmexico.files.wordpress.com/2024/06/000-lavender.jpg?w=800&resize=200%2C200", "https://i0.wp.com/latitudeadjustmentblog.com/wp-content/uploads/2023/08/IMG_3247.jpeg?resize=200%2C200&ssl=1", "https://aculturame.com/wp-content/uploads/2017/10/cropped-aculturame-logo-edited1.jpg?w=50", "https://aculturame.com/wp-content/uploads/2017/10/cropped-aculturame-logo-edited1.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[ "La Potosina" ]	2023-04-01T00:00:00	With my birthday soon approaching, I find myself reminiscing about last year’s birthday weekend in Mayagüez, Puerto Rico. I have fond memories of Mayagüez as it is one of the places my husband and I visited during our Honeymoon thirteen years ago. Back then, in 2009, Mayagüez was one of the places that impressed me…	en	https://aculturame.com/w…edited1.jpg?w=32	Aculturame	https://aculturame.com/2023/04/01/a-birthday-weekend-in-mayaguez/	With my birthday soon approaching, I find myself reminiscing about last year’s birthday weekend in Mayagüez, Puerto Rico. I have fond memories of Mayagüez as it is one of the places my husband and I visited during our Honeymoon thirteen years ago. Back then, in 2009, Mayagüez was one of the places that impressed me the most out of the whole island. It looks like a Spanish colonial town with a beautiful Spanish-style plaza full of energy and life. As soon as we arrived, we visited the Mayagüez Office of Tourism. The staff there was very friendly, sharing with us all about the things we could do in their city. They even offered us a tour of the plaza (Main Square), which we gladly accepted. That’s how I learned about the history of this interesting city for the first time. Mayagüez is located in the western coast of Puerto Rico. It is well known for its beautiful beaches and their Universidad de Mayagüez. Mayagüez is also the cradle of well-known intellectual, advocate leaders such as Eugenio María de Hostos. He fought against colonialism and slavery, endeavored gain for the independence of Cuba and Puerto Rico, and became a vigorous advocate for the creation of an Antillean Confederation. Mayagüez is also known for its seafood. I found that the western coast of Puerto Rico has more eateries that offer dishes made with freshly caught seafood prepared with local ingredients. The best seafood dishes I’ve enjoy in Puerto Rico have been from the western side of the island; cities like Mayagüez and Cabo Rojo. Last year for Spring Break, my family and I visited Puerto Rico to spend time with my husband’s family while also taking a break from the recent pandemic. We usually stay in the eastern side of Puerto Rico whenever we visit. However, this time around, we wanted to spend a bit of time visiting different parts of the island. We wanted to visit Mayagüez, a place we had visited before in our younger years and re-live some memories. At the same time, celebrate my birthday there. It was Saturday; the day of my birthday. Our plan was to start our tour of Mayagüez by visiting Plaza Colón, the Main Square of the municipality. We wanted to take a look at all the historic landmarks, take some pictures, and close the day enjoying some local ice cream. We planned on following that by making our way to Cabo Rojo to enjoy some delicious dinner. However, it turned out that since we visited Puerto Rico during the Spring time, Mayagüez was very rainy and filled with overcast weather. It wasn’t a great day to take pictures. We began our tour of Mayagüez by visiting Teatro Yagüez, known for presenting grand opera, international dance and chamber orchestra music in Mayagüez. The Yagüez Theater was inaugurated in 1909 in the urban center of the town of Mayagüez. The Teatro Yagüez is an elegant neo-baroque style theater. It was built by Mr. Francisco Maymon Palmer who was a local pioneer of the silent film industry. Even before silent films became popular in Puerto Rico, Mr. Maymon would bring them from across the world and distributed them throughout the island. In Mayagüez, he and his partners exhibited silent films in the old municipal theater until they built the Yagüez. In 1919, a terrible fire destroyed much of the Yagüez and took the lives of 150 people. However, the theater was rebuilt to its former beauty in the baroque style. In 1976 the theater was declared a historic landmark and the following year it was acquired by the municipal government of Mayagüez. The theater stands today as a performing arts center and the municipality’s main performing arts venue. We made our way to the Plaza Colón or the Main Square in Mayagüez; it’s a nice short walk where you can admire the colonial architecture and take pictures. There you can find the Catedral of Nuestra Señora de la Candelaria, Our Lady of the Candelaria Cathedral. This is the cathedral for the Roman Catholic Diocese of Mayagüez located in the eastern end of the Plaza Colón facing the town hall in Mayagüez. Many buildings surrounding Plaza Colón are worth visiting and photographing. I recommend Mayagüez City Hall, the Antigüo Casino de Mayagüez and the Logia Adelphia. Next, we visited a local ice cream shop called Rex Cream and savored some delicious ice cream while we waited for the rain to stop, or at least slow down, so we could start heading back to our car. Once the rain turned into a slow drizzle for a bit, we made our way back to our car so we could start heading to a restaurant in Cabo Rojo for an early dinner. It continued drizzling on the drive there and we encountered some floodings in some of the streets of Mayagüez. Some of the streets of downtown Mayagüez tend to get flooded during rainy seasons because they are old streets built during Spanish colonial times and there hasn’t been a lot of upgrading. We wanted to go visit a restaurant called Tino’s Restaurant located in Cabo Rojo, which is about 25 minutes from Mayagüez. Back in 2009, during our honeymoon, we visited this restaurant and we wanted to relive that experience. My husband and I remembered eating a delicious seafood dinner there and the quality of the fish and the food was excellent. Once at Tino’s, I ordered a chillo fillet in passion fruit sauce. Chillo is the local name for red snapper fish, caught locally in Puerto Rico; it is one of my favorites. I wanted to try a martini for my birthday, just like in the James Bond movies. Of course, I made sure I asked for it, “Shaken, not stirred.” As far as my James Bond martini, I wasn’t impressed. I think I’m more of a wine person. Nonetheless, I was glad to finally be able to try a martini for the first time. I enjoy James Bond movies and I was curious about martinis, but that itch has now been scratched. I also noticed that Cabo Rojo has more seafood restaurants than when we visited in 2009. From gourmet restaurants to street food vendors, Cabo Rojo is the perfect place to enjoy fresh, local fish and shellfish. The next day, we decided to visit Isabela; a city about 55 minutes from Mayagüez. We wanted to see the famous Cara del Indio or the Taíno Face. I have been wanting to go see this sculpture for years and finally got the opportunity to see it. There was a particular seafood restaurant I wanted to visit in Isabella and we planned to go there after our trip to Cara del Indio. Unfortunately, when we arrived, we found out the wait time was two hours! We were really hungry and didn’t want to wait that long, so we decided to drive back to Mayagüez and check out the restaurants downtown. Once there, I found a restaurant that caught my eye. It looked more informal than the restaurants we had visited so far, but I wanted to try something different. It was a restaurant called La Jibarita. The menu looked interesting: it offered a variety of pizzas with unique combinations I hadn’t tried before. For example, La Jibarita pizza had Puerto Rican style beef, purple onion and ripe plantains. Another combination was La Carnosa, a pizza with chicken, chorizo, and Puerto Rican style hog’s leg. There are other main dishes on the menu such as steaks, hamburgers, and pastas, but the pizzas were the highlight of this place, not to mention they also had a good selection of artisanal beers made in Puerto Rico. My birthday weekend was coming to an end and we decided to close it by visiting Playa Buyé or Buyé Beach in Cabo Rojo. Playa Buyé, a public beach, is one of the best beaches in Cabo Rojo. The atmosphere there is very laid back and the water is calm and clear, perfect for those who just want to relax and enjoy the view or even for families with small kids. It’s not a crowded, touristy beach like the ones in San Juan, Puerto Rico, full of franchised hotels and restaurants. Playa Buyé is a calm, relaxing beach where one can really decompress from the stresses of life. There is a restaurant nearby, bathrooms, and changing stations. There are also bungalows available to rent in the spring and summer. We went there on a Monday, when there were just a few people enjoying the beach. The only thing that I didn’t enjoy were the mosquitos. Since it’s a tropical island there are mosquitos everywhere. Fortunately, we made sure we took repellent. We loved Playa Buyé and can’t wait to go back again! I really enjoyed spending my birthday in Mayagüez. The city has definitely changed after the pandemic and Hurricane Maria; nevertheless, if given the choice to live anywhere in Puerto Rico, I would pick the western side of the island without hesitation.
5858	dbpedia	1	23	https://www.99bookscart.com/blog/view/651737787736704e309ddc32/biography-of-eugenio-maria-de-hostos	en		https://99bookscart-asse…tools_32x32.webp	https://99bookscart-asse…tools_32x32.webp	[]	[]	[]	[ "" ]	null	[]	null		en	https://99bookscart-asse…tools_32x32.webp		null
5858	dbpedia	2	76	https://www.sources.com/SSR/Docs/SSRW-Nationalist_Attack_San_Juan.htm	en	Nationalist attack of San Juan	https://www.sources.com/Graphics/SourcesBookmark.ico	https://www.sources.com/Graphics/SourcesBookmark.ico	[ "https://www.sources.com/Graphics/Header-SSR.jpg", "http://upload.wikimedia.org/wikipedia/en/thumb/e/ee/Flag_of_Puerto_Rico_%28Light_blue%29.svg/30px-Flag_of_Puerto_Rico_%28Light_blue%29.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Flag_of_the_Puerto_Rican_Nationalist_Party.svg/125px-Flag_of_the_Puerto_Rican_Nationalist_Party.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/2/27/Troops_in_Jayuya.gif/250px-Troops_in_Jayuya.gif", "http://bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/3/34/San_Juan_Federal_Court_House.jpg/200px-San_Juan_Federal_Court_House.jpg", "http://bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/e/ee/La_Fortaleza_attack-1950.jpg/200px-La_Fortaleza_attack-1950.jpg", "http://bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/en/thumb/3/32/Olga_Viscal_Garriga.JPG/170px-Olga_Viscal_Garriga.JPG", "http://bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Nuvola_apps_arts.png/30px-Nuvola_apps_arts.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/4/44/Nuvola_apps_arts.png/16px-Nuvola_apps_arts.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Flag_of_Puerto_Rico.svg/42px-Flag_of_Puerto_Rico.svg.png", "http://upload.wikimedia.org/wikipedia/en/thumb/e/ee/Flag_of_Puerto_Rico_%28Light_blue%29.svg/40px-Flag_of_Puerto_Rico_%28Light_blue%29.svg.png", "http://upload.wikimedia.org/wikipedia/en/thumb/9/96/LARESFLAG2.jpg/25px-LARESFLAG2.jpg", "http://upload.wikimedia.org/wikipedia/en/thumb/e/ee/Flag_of_Puerto_Rico_%28Light_blue%29.svg/30px-Flag_of_Puerto_Rico_%28Light_blue%29.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Flag_of_the_Puerto_Rican_Nationalist_Party.svg/30px-Flag_of_the_Puerto_Rican_Nationalist_Party.svg.png", "http://upload.wikimedia.org/wikipedia/commons/thumb/a/a2/Pip_Flag.png/40px-Pip_Flag.png" ]	[]	[]	[ "" ]	null	[]	null	News release		/Graphics/SourcesBookmark.ico		null	Puerto Rican Nationalist Party Series Flag of the Puerto Rican Nationalist Party Events and Revolts Puerto Rican Nationalist Party Ponce massacre – RÃo Piedras massacre – Puerto Rican Nationalist Party Revolts of the 1950s – Jayuya Uprising – Nationalist attack of San Juan – Utuado Uprising – Truman assassination attempt – U.S. Capitol shooting incident (1954) Nationalist Leaders Pedro Albizu Campos – Blanca Canales – JosÃ© Coll y CuchÃ – Oscar Collazo – Juan Antonio Corretjer – Lolita LebrÃ³n – Hugo Margenat – Francisco Matos Paoli – Clemente Soto VÃ©lez – Griselio Torresola – Carlos VÃ©lez Rieckehoff – Olga Viscal Garriga Notable Nationalists Margot Arce de Vï¿½¡zquez – Julia de Burgos – Nemesio Canales – Carmelo Delgado Delgado – JosÃ© Ferrer Canales – RenÃ© MarquÃ©s – German Rieckehoff – Helen Rodriguez-Trias – Daniel Santos – TeÃ³filo Villavicencio Marxuach The Nationalist attack of San Juan was one of many uprisings against United States Government rule which occurred in Puerto Rico on October 30, 1950 during the Puerto Rican Nationalist Party revolts. Among the uprising's main objective was to attack "La Fortaleza" (the Governors mansion) and the United States Federal Court House Building in Old San Juan. Contents 1 Events leading to the revolt 2 Uprisings 3 Attack of the United States Federal Court House 4 Attack of "La Fortaleza" 5 Gun fight at "SalÃ³n Boricua" 6 Student March 7 The arrest of Francisco Matos Paoli 8 Incarcerated Nationalists 9 Aftermath 10 See also 11 References [edit] Events leading to the revolt On September 17, 1922, the Puerto Rican Nationalist Party was formed. Jose Coll y Cuchi, a former member of the Union Party, was elected its first president. He wanted radical changes within the economy and social welfare programs of Puerto Rico. In 1924, Pedro Albizu Campos, a lawyer who once served in the U.S. Army during World War I as a Second Lieutenant, joined the party and was named its vice president. He believed that Puerto Rico should be an independent nation even if it meant an armed confrontation. By 1930, Coll y Cuchi departed from the party because of his disagreements with Albizu Campos as to how the party should be run. On May 11, 1930, Albizu Campos was elected president of the Nationalist Party. In the 1930s, the United States-appointed governor of Puerto Rico, Blanton Winship, and police colonel Riggs applied harsh repressive measures against the Nationalist Party.[1] In 1936, Albizu Campos and the leaders of the party were arrested and jailed at the Princesa Jail in San Juan and later sent to the Federal Prison at Atlanta, Georgia. On March 21, 1937, the nationalists held a parade in Ponce and the police opened fire on the crowd in what was to become known as the Ponce Massacre. Albizu Campos returned to Puerto Rico on December 15, 1947 after spending 10 years in prison. On June 11, 1948, the United States appointed Governor of Puerto Rico, JesÃºs T. PiÃ±ero, signed the infamous "Ley de la Mordaza" (Gag Law) or Law 53 as it was officially known, passed by the Puerto Rican legislature which made it illegal to display the Puerto Rican Flag, sing a patriotic song, talk of independence and to fight for the liberation of the island. It resembled the anti-communist Smith Law passed in the United States.[2] On June 21, 1948, Albizu Campos gave a speech in the town of Manati where nationalists from all over the island, including Utuado and Jayuya were gathered in case there was an attempt by the police to arrest him. [edit] Uprisings From 1949 to 1950, the nationalists in the island began to plan and prepare an armed revolution hoping that the United Nations would take notice and intervene on their behalf. The revolution was to take place in 1952, on the date the United States Congress was to approve the creation of the political status Free Associated State ("Estado Libre Associado") for Puerto Rico. The reason behind Albizu Campos' call for an armed revolution was that he considered the "new" status a colonial farce. On October 26, 1950, Albizu Campos was holding a meeting in Fajardo when he received word that his house in San Juan was surrounded by police waiting to arrest him. He was also told that the police had already arrested other nationalist leaders. He escaped from Fajardo and ordered the revolution to start. On October 27, the police in the town of PeÃ±uelas, intercepted and fired upon a caravan of nationalists, killing four.[3] On October 30, the nationalists staged uprisings in the towns of Ponce, MayagÃ¼ez, Naranjito, Arecibo, Utuado (Utuado Uprising), Jayuya (Jayuya Uprising) and San Juan. The first battle of the nationalist uprisings occurred during the early hours of the day of October 29, in the barrio Macanï¿½¡ of town of PeÃ±uelas. The police surrounded the house of the mother of MelitÃ³n MuÃ±iz the president of the PeÃ±uelas Nationalist Party, under the pretext that he was storing weapons for the Nationalist Revolt. Without warning, the police fired upon the nationalists and a firefight between both factions ensued, which resulted with the death of two nationalists and six police officers wounded.[4] [edit] Attack of the United States Federal Court House In accordance to the planned uprising in San Juan, a group of nationalists were supposed to attack simultaneously the governmental mansion "La Fortaleza", where Puerto Rican governor Luis MuÃ±oz MarÃn resided, and the United States Federal Court House which is located close to an area called "La Marina" in Old San Juan, at noon in what was supposed to be a surprise attack. The government however learned of the planned attacks from Luciano Cuadra, the president of the San Juan Nationalist Party in San Juan. Cuadra betrayed his organization and became a government witness, therefore forewarning the police and National Guard, who prepared themelves to face the nationalists in San Juan and the rest of the island.[5] JesÃºs Pomales Gonzï¿½¡lez, one of five nationalists assigned to attack the court house, approached the building and witnessed the police arresting his fellow comrades Carlos Padilla, Diego QuiÃ±ones Gonzï¿½¡lez, Juan Sandoval Ramos and JoaquÃn PadÃn ConcepciÃ³n. Pomales then opened fire on the police. The police responded by firing on Pomales, severely wounding him. He was then taken to the municipal hospital where he would recover from his wounds.[5] [edit] Attack of "La Fortaleza" Earlier that morning, nationalists Domingo Hiraldo Resto, Carlos Hiraldo Resto, Gregorio Hernï¿½¡ndez and Manuel Torres Medina who were assigned to attack La Fortaleza, met at the house of fellow nationalist Raimundo DÃaz Pacheco in the San Juan sector of MartÃn PeÃ±a. At 11 A.M. they boarded a green Plymouth and headed towards Old San Juan to accomplish their mission. The men arrived at La Fortaleza at noon and stopped their car 25 feet from their objective's main entrance [6] Immediately they got out of the car with a submachine gun and pistols in hand and began firing towards the mansion. DÃaz Pacheco headed towards the mansion while the others took cover close to their car and fired with their pistols from their positions. The Fortaleza guards and police, who already knew of the planned attack, returned fire and a firefight between the two groups ensued. DÃaz Pacheco, who carried the sub machine gun, fired at the second floor of the mansion where the executive offices of Governor Luis MuÃ±oz MarÃn were located. During the firefight, DÃaz Pacheco wounded two police officers, Isidoro Ramos and Vicente Otero DÃaz before he was killed by Fortaleza guard Carmelo Dï¿½¡vila.[6] Meanwhile, the police continued to fire upon the other nationalists. Domingo Hiraldo Resto was seriously wounded, but despite his wounds he dragged himself towards the mansions entrance. He was able to reach the mansions main door and once there he was motionless and appeared to be dead. He suddenly turned and sat on the steps and with his hands held up pleaded for mercy, his pleas however, were answered with a fusillade of gunfire.[7] Hernï¿½¡ndez, who was also severely wounded continued to fire against the police from under the car. A police officer and a detective from La Fortaleza with sub machine guns approached the car and fired upon Hernï¿½¡ndez, Carlos Hiraldo Resto and Torres Medina. Both Carlos Hiraldo Resto and Torres Medina were killed and their motionless bodies laid in the ground by the right side of the car. It was believed that Hernï¿½¡ndez was dead, however he wasn't and was taken to the local hospital along with the wounded police officers where they were operated for their respective wounds. The battle lasted 15 minutes and at the ended of the battle there were five nationalist casualties, four dead and one wounded, plus three wounded police officers.[7] E. Rivera Orellana, a sixth nationalist, who later turned out to be an undercover agent, was arrested close to La Fortaleza grounds and was later released.[7] [edit] Gun fight at "SalÃ³n Boricua" The following day, October 31, at 2:00 p.m., 15 police officers and 25 National Guardsmen arrived at 351 Calle Colton (Colton Street), esquina Barbosa (at the corner of Barbosa Street), of "Barrio Obrero" (a section named Workers Barrio) in Santurce and surrounded "SalÃ³n Boricua", a barbershop. The barbershop was owned and operated by Vidal Santiago, a nationalist who was the personal barber of Albizu Campos. The men who had surrounded the barbershop believed that a group of nationalists were inside and attacked the structure with machine gun fire, grenades and small firearms. The only person inside the shop was Santiago who responded by firing his pistol at the attackers. The firefight lasted 3 hours and ended when Santiago received five bullet wounds, among them one to the head. The battle, which also resulted with two bystanders and a child wounded, made Puerto Rican radio history since it was the first time that an event of this nature was transmitted "live" via the radio airwaves to the public in general. The reporters who covered the event for "WIAC" were Luis Enrique "BibÃ" Marrero, VÃctor Arrillaga, Luis Romanacce and 18 year old Miguel Angel Alvarez.[8] [edit] Student March Olga Viscal Garriga, a student at the University of Puerto Rico was a student leader and spokesperson of the Puerto Rican Nationalist Party's branch in Rio Piedras. Garriga, who befriended Dr. Pedro Albizu Campos was a talented orator and political activist, led a demonstration that turned deadly in Old San Juan, after the United States Forces opened fire on the demonstrators. In the violent confrontation between the "Nationalists" and the United States backed forces, a demonstrator was killed. Although she was not directly involved in any violent act Garriga was arrested and was detained in "La Princesa" jail. During her trial in the federal court room in "Old San Juan", she was uncooperative with the U. S. Government prosecution and refused to recognize the authority of the U.S. over Puerto Rico. She was sentenced to 8 years in prison for contempt of court and was released after serving 5 years.[9] [edit] The arrest of Francisco Matos Paoli On November 2, 1950, the police arrived at Francisco Matos Paoli's home in RÃo Piedras and searched for guns and explosives, however the only thing that they found was a Puerto Rican flag. Paoli, one of the island's greatest poets, was named Secretary General of the party in 1949. Some of his responsibilities as Secretary General of the party included the presentation of patriotic speeches. In September 1950, Paoli traveled to the towns of Cabo Rojo, Santurce, Guï¿½¡nica and Lares in participation of nationalist activities. Paoli was arrested and accused of violating the "Ley de la Mordaza" (Gag Law). The evidence used against him was that he had a Puerto Rican Flag in his residence and that he had made four speeches in favor of Puerto Rico's independence.[10] Paoli was fired from his professorship at the UPR and was sentenced to a twenty year prison term, the sentence was later reduced to ten. In jail, he shared his cell with Albizu Campos. Campos suffered from ulceration's on his legs and body caused by radiation and Paoli tended to his needs.[10] [edit] Incarcerated Nationalists The following is an FBI list of the San Juan Nationalists who were incarcerated in 1950 and who were still in prison as of 1954[11] : Olga Isabel Viscal Garriga Juan Pietri perez Rufino Rolon Marrero Oliverio Pierluissi Soto Joae Rivera Sotomayor Pablo Rosado Ortiz Antonio Moya velez Enrique Muniz Medina Willism Rios Figueroa Vidal Santiago Diaz [edit] Aftermath External audio Newsreel scenes in Spanish of the Puerto Rican Nationalist Party Revolts of the 1950s here United States law mandated that U.S. President Harry Truman take direct charge in all matters concerning Puerto Rico. In addition, the Governor of Puerto Rico, Luis MuÃ±oz MarÃn was required to consult directly with the White House.[12] News of the military action involved however, was prevented from spreading outside of Puerto Rico. It was called an incident between Puerto Ricans.[13][14] Pomales, Hernï¿½¡ndez and Santiago were hospitalized at the municipal hospital and recovered from their wounds. Pomales was released after six months and was accused of three counts of attempted murder and sentenced to 15 years of prison. Hernï¿½¡ndez was accused of two counts of attempted murder and sentenced to 15 years of prison. Nationalists Carlos Padilla, Diego QuiÃ±ones Gonzï¿½¡lez, Juan Sandoval Ramos, JoaquÃn PadÃn ConcepciÃ³n and Vidal Santiago were also sentenced to various years of prison. Santiago was eventually pardoned and released from prison.[7] Paoli was released on January 16, 1952, on probation. During his confinement he suffered from hallucinations which resulted in a mental breakdown and he was sent to a Psychiatric hospital. In 1977, the Department of Hispanic Studies at the University of Puerto Rico campus in MayagÃ¼ez nominated him for the Nobel Prize in literature in recognition of his substantial contribution to world literature. The top leaders of the nationalist party were arrested, including Albizu Campos and the leader of the Jayuya Uprising Blanca Canales, and sent to jail to serve long prison terms. On November 1, 1950, nationalists Griselio Torresola and Oscar Collazo attacked the Blair House with the intention of assassinating U.S. President Truman. Torresola and White House police officer Leslie Coffelt lost their lives in the failed attempt. Collazo was arrested and sentenced to death. His sentence was later commuted to life imprisonment by President Truman, and he eventually received a presidential pardon.[15] The last major attempt by the Puerto Rican Nationalist Party to draw world attention to Puerto Rico's colonial situation occurred on March 1, 1954, when nationalist leader Lolita LebrÃ³n together with fellow nationalists Rafael Cancel Miranda, Irving Flores and AndrÃ©s Figueroa Cordero attacked the United States House of Representatives. LebrÃ³n and her comrades were charged with attempted murder and other crimes.[15] [edit] See also Puerto Rican Nationalist Party Ducoudray Holstein Expedition Grito de Lares Intentona de Yauco Ponce Massacre RÃo Piedras massacre Puerto Rican Nationalist Party Revolts of the 1950s Jayuya Uprising Utuado Uprising Truman assassination attempt Puerto Rican Independence Party List of famous Puerto Ricans
5858	dbpedia	1	0	https://www.hostos.cuny.edu/About-Hostos/About-the-Man	en	About the Man, Eugenio María de Hostos	https://www.hostos.cuny.edu/favicon.ico	https://www.hostos.cuny.edu/favicon.ico	[ "https://www.hostos.cuny.edu/App_Themes/Hostos/images/logo.png", "https://www.facebook.com/tr?id=3824884744221808&ev=PageView&noscript=1", "https://www.hostos.cuny.edu/Hostos/media/Downloadable-Files/Eugenio-Maria-de-Hostos-The-Man.jpg", "https://www.hostos.cuny.edu/Hostos/media/Footer-Images/logo2.png?width=45&height=46&ext=.png" ]	[]	[]	[ "About the Man", "Eugenio María de Hostos - Hostos Community College" ]	null	[]	null	About the Man, Eugenio María de Hostos - Hostos Community College	en	/favicon.ico		null	Eugenio María de Hostos was a Puerto Rican educator, writer and patriot, born in 1839 in Río Cañas, Mayagüez. Hostos attended school in Mayagüez and San Juan and studied law in Spain where he fought to liberalize Spain’s colonial rule of Cuba and Puerto Rico. He opposed all forms of slavery and fought arduously to abolish slavery in Cuba and Puerto Rico. In 1869, he left Madrid for New York City where he joined other exiles in the struggle for the liberation of Cuba and Puerto Rico. Hostos was a man who dedicated his life to progress, education and justice--passionately committed to human rights and personal dignity. He vigorously championed reforms in politics, law, social mores and education. His extensive travels throughout the United States, Europe, Latin America and the Caribbean provided him firsthand contact with the social and economic injustice and struggles taking place in many countries. He disseminated his ideas and ideals through a wide range of literary formats—books, newspaper articles, plays, speeches, and letters—to people on both continents. He fought against colonialism and slavery, endeavored gain for the independence of Cuba and Puerto Rico, and became a vigorous advocate for an Antillean Confederation. Hostos was also Latin America’s first scientific sociologist and an early champion of inclusiveness. He denounced the exploitation of the Chinese indentured servants in Perú and became a strong advocate for women’s educational rights. His contributions to educational philosophy and pedagogy were liberating and transformative: through education, people would be better social contributors and realize their individuality; mothers would become better equipped and be better teachers of their children; societies would be civilized; nations would become modern and develop their potential. In Chile, he argued vigorously for the scientific education of women, and in the Dominican Republic, he founded normal (teacher schools for men, and with Dominican poet Salomé Ureña, he opened teachers school for women, called “normal.”) schools for men and women, a kindergarten, and a night school for workers. Eugenio María de Hostos’s work and ideas have influenced the intellectual discourse of Latin America for more than 125 years, making a tremendous contribution to Caribbean identity, culture and political development. He died in Santo Domingo, Dominican Republic on August 11, 1903. He is buried in the Panteón Nacional de la Patria in the colonial district of Santo Domingo. Per his wishes, his remains shall stay in the Dominican Republic until his Puerto Rico is an independent Republic.
5858	dbpedia	0	59	https://issuu.com/hostoscollege/docs/2020-22hostoscatalog	en	2020 - 2022 Hostos Catalog	https://image.isu.pub/22…age_1_social.jpg	https://image.isu.pub/22…age_1_social.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/hostoscollege/photo_large.jpg", "https://stories.isu.pub/84918156/images/1_original_file_I0.jpg", "https://image.isu.pub/240820161051-9000d796a1c997fdc9d1e6f407eace35/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240506161144-4389572f76bd467498c9a595e1b68271/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240207151511-93298ccb86717d780f758b30575f4c23/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231122205943-d89e63d448e188e53d19edb45086ee1e/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231117165536-5a75453f471307bca00351767cf858b3/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231116150147-7d953488e3866e862fd3b540dad957df/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2020-09-09T00:00:00+00:00	Associate degree and certificate programs. Curriculum requirements.	en	/favicon.ico	Issuu	https://issuu.com/hostoscollege/docs/2020-22hostoscatalog	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
5858	dbpedia	1	15	https://www.puertoricobygps.com/eugenio-maria-de-hostos-square/	en	Eugenio María de Hostos Square	https://www.puertoricoby…square-650px.jpg	https://www.puertoricoby…square-650px.jpg	[ "https://www.accrm.com/matomo/matomo.php?idsite=3&rec=1", "https://www.puertoricobygps.com/wp-content/uploads/2023/06/cropped-puerto-rico-by-gps-header-230628.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2013/06/eugenio-maria-de-hostos-square-650px.jpg", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_car.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_car.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_walking.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_walking.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_transit.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_transit.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_bike.png", "https://www.puertoricobygps.com/wp-content/plugins/wp-google-maps-pro/images/icons/directions_bike.png", "https://www.puertoricobygps.com/wp-content/uploads/2021/01/orlando-mergal-buy-all-his-photo-equipment-at-bh-toolbox-banner-3.gif", "https://www.puertoricobygps.com/wp-content/uploads/2021/01/orlando-mergal-buy-all-his-photo-equipment-at-bh-toolbox-banner-3.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/08/the-old-san-juan-walking-tour-3d-300px-cover.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/08/the-old-san-juan-walking-tour-3d-300px-cover.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/guia-del-caminante-del-viejo-san-juan-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/guia-del-caminante-del-viejo-san-juan-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/puerto-rico-beach-by-beach-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/puerto-rico-beach-by-beach-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/puerto-rico-playa-por-playa-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/07/puerto-rico-playa-por-playa-3d-300px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/05/Gift-Shop-Banner.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/05/Gift-Shop-Banner.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/enjoy-our-videos-v2.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/enjoy-our-videos-v2.gif", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/sunrise.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/sunrise.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/sunset.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/sunset.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/dew-point.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/dew-point.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/pressure.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/pressure.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/clouds.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/clouds.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/umbrella.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/plugins/weather-in-any-city-widget/resources/icons/ui-icons/arrow.svg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/dont-drown-check-surf-advisories-here-v2.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/dont-drown-check-surf-advisories-here-v2.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2023/07/honorary-puerto-rican-banner-300px.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2023/07/honorary-puerto-rican-banner-300px.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2023/11/300px-ad.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2023/11/300px-ad.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/tosjwt-promo-900x540px-ao-240610.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/tosjwt-promo-900x540px-ao-240610.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/click-here-to-order-on-amazon-button-400x70px.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/click-here-to-order-on-amazon-button-400x70px.gif", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/close-40px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/close-40px.png", "https://www.puertoricobygps.com/wp-content/uploads/2023/09/sorry-youre-leaving-banner-art-with-free-burst-900x600px.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2023/09/sorry-youre-leaving-banner-art-with-free-burst-900x600px.jpg", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/close-40px.png", "https://www.puertoricobygps.com/wp-content/uploads/2024/06/close-40px.png" ]	[]	[]	[ "" ]	null	[]	2013-06-24T19:26:36+00:00	“Plaza de los Niños” is a small square dedicated in 1998 to 19th century Puerto Rican educator and independence advocate Eugenio María de Hostos.	en	https://www.puertoricoby…avicon-32x32.png	Puerto Rico By GPS	https://www.puertoricobygps.com/eugenio-maria-de-hostos-square/
5858	dbpedia	2	17	https://nacla.org/article/colonial-case-puerto-rico	en	The Colonial Case of Puerto Rico	https://nacla.org/sites/…pg?itok=Hy5SpfON		[ "https://nacla.org/sites/all/themes/nacla/logo.jpg", "https://nacla.org/sites/default/files/styles/650px_wide/public/iconfinder_1_Facebook_colored_svg_copy_5296499.png?itok=8MbIaK-r", "https://nacla.org/sites/default/files/styles/650px_wide/public/iconfinder_Social-media_Twitter_4362955_0.png?itok=mvqUNkxQ", "https://nacla.org/sites/default/files/styles/650px_wide/public/iconfinder_2018_social_media_popular_app_logo_instagram_3225191.png?itok=srbqamMF", "https://nacla.org/sites/default/files/styles/small/public/black%20n%20logo.jpg?itok=_XxLGjiu", "https://nacla.org/sites/default/files/styles/650px_wide/public/clacslogo.jpg?itok=Hy5SpfON", "https://nacla.org/sites/default/files/styles/650px_wide/public/LAP-test-FOR-WEB.jpeg?itok=jvsDskW4" ]	[]	[]	[ "" ]	null	[]	null		en	https://nacla.org/sites/…iles/favicon.jpg	NACLA	https://nacla.org/article/colonial-case-puerto-rico	1. Puerto Rico is a Latin American country. It has a nationality of its own which was crystallized as early as the beginning of the nineteenth century. Its history, culture, customs, traditions and inter- ests are totally different from those of the United States, the metropolitan colonial Power. 2. The people of Puerto Rico has a long and heroic tradition of struggle for its national independence. The common task of helping that people to win full emancipation is part of the historical patrimony of all the Latin American peoples. 3. In the first quarter of the nineteenth century, when the first stirrings of rebellion against the colonial power of Spain began to make themselves felt in the West Indies, the Liberator, Simon Bolivar, personally assumed responsibility for assisting and encouraging those in Cuba and Puerto Rico who were fighting for national independence. Ever since that very early time, it was the Govern- ment of the Unifed States which represented the main obstacle to the fulfillment by the Latin American patriots of their duty of solidarity. 4. On 23 September 1868, in the town of Lares, the Puerto Rican people launched its war of independence against Spain. Side by side with the people of Cuba, the inhabitants of the small West Indian island defied colonial power and fought under the very difficult conditions resulting from their insularity until the year 1898. 5. As a result of that struggle, Spain was forced to grant Puerto Rico a relatively large degree of autonomy, which was enshrined in the Constitution of 25 November 1897. Under the terms of that Constitu- tion, the people of Puerto Rico elected deputies to the Spanish Cortes, acquired the freedom to trade with all the countries of the world and exercised important powers and prerogatives of self-government representing a degree of autonomy incomparably greater than that which now exists in the island under United States colonial rule. The Constitution of 1897 provided that Spain could not modify the status of Puerto Rico without the consent of the Puerto Rican Parliament. 6. However, on 25 July 1898, the island was invaded by the armed forces of the United States, which placed the territory under military occupation, dissolved the Parliament and established United States rule by force of arms.28 7. History provides ample evidence of the expan- sionist aims of the United States with respect to the West Indies. Everybody knows the famous line written by President Monroe in a letter to Mr. Nelson, United States Ambassador in Madrid, in 1822: "Cuba and Puerto Rico are natural appendages of the United States." 8. The military occupation of Puerto Rico was one of the most flagrant acts of piracy perpetrated by rising United States imperialism. In 1898, the United States, motivated by its own imperialist interests, intervened in the war which the Cuban people was waging against Spain for its independence. 9. The Cuban liberation movement was on the verge of achieving total victory over the forces of a Spain bankrupted by its colonial war. The expan- sionist circles in Washington took advantage of those circumstances to seize the Spanish possessions with a view to establishing their own colonial empire. 10. In July 1898, Spain was preparing to surrender after the defeats suffered in the fighting in Cuban territory. On 16 July, the Spanish Army surrendered in the city of Santiago de Cuba. The following day, the 17th, the Spanish Government, through its Ambas- sador in Paris, made an offer to the United States to open peace talks. The very same day, the United States Government ordered its Navy to invade Puerto Rico. An American writer, who certainly could not be accused of hostility towards the imperialist designs of his Government, wrote quite properly: "It was not a battle against the Spaniards any longer - they were fleeing satisfactorily - but against time: to establish a fait accompli occupa- tion of the island before an unfavourable turn in the peace negotiations now in progress could deprive Miles' armies of the territory they already control- led." (Jack Cameron Dierks, A Leap to Arms, the Cuban Campaign of 1898, Philadelphia and New York, 1970). 11. Under the terms of the Treaty of Paris, signed between Spain and the United States, Spain "ceded" to the United States the territory of Puerto Rico (article 2 of the Treaty), thus consummating a typical act of colonial plunder in which the people of the territory concerned had absolutely no say. To that extent, the Treaty of Paris, in so far as it concerns Puerto Rico, is null and void because it was done in total disregard of the Puerto Rican Constitution and its autonomous institutions. That argument was invoked by the great Puerto Rican patriot of the time, Eugenio Maria de Hostos: "Puerto Rico is a legal entity and could not be stripped of any of its prerogatives as a nation by a war which was not of its making." In October 1935, in a plea before the United States Supreme Court, Pedro Albizu Campos, leader of the Nation- alist Party of Puerto Rico, asserted: "The Treaty (of Paris) is null and void in so far as it concerns Puerto Rico. Spain could not cede Puerto Rico because Puerto Rico was not a negotiable entity (res in commercium). Puerto Rico became a sovereign nation by virtue of the Charter of Self-Government (Carta Autonomica) which Spain could not amend with- out the consent of Puerto Rico. And the United States could not agree to the cession of the ter- ritory because it was obligated to respect the independence of Puerto Rico.... The feudal concept of international law which permitted the conquest of one nation by another through war and retention of the victim as the property of the victor, as a possession, must have been dead in the United States too. 1'* 12. By virtue of an act of imperialist plunder the people of Puerto Rico lost the autonomy which it had wrested from Spain. The territory, which had won international recognition as a separate legal entity when it was admitted to the Universal Postal Union in 1897, openly and frankly became a conquest of the United States, a colonial possession of the United States. II. THE PRESENT SITUATION 13. Since 1898, the Government in Washington has done everything in its power to crush the aspira- tions of the Puerto Rican people for independence and to make the island a part of the United States. Its efforts have resulted in total failure and the struggle of the Puerto Rican people has become irrepressible, forcing the colonial Government to resort to all kinds of manoeuvres to silence internal opposition and international condemnation of the oppression of Puerto Rico. 14. Today, United States colonial rule over all aspects of Puerto Rican life is absolute. Puerto Rico is under the legislative, judicial and execu- tive control of the United States. The United States Government has exclusive jurisdiction over all questions of citizenship, foreign affairs, defense, immigration and emigration, foreign trade, currency, postal service, radio and television, air and maritime transport. Decisions of the Supreme Court of Puerto Rico can be overturned by the federal courts of the United States. All the laws adopted by the Congress of the United States automatically apply in Puerto Rico. 15. The United States exercises absolute control over the economy of Puerto Rico. American invest- ments in Puerto Rico amount to $1 billion and, even according to colonial propaganda, yield profits each year amounting on the average to 30 percent of the capital invested. American in- vestments are exempt from all taxes, corporation 0 or personal taxes, for a period ranging from 12 to 17 years. In that way, Puerto Rico has been converted into a privileged preserve for United States monopolies, which use it as a source of cheap labour and exploit the national economy without even being subject to the rules and restrictions in force in the metropolitan country. * Provisional translation29 For example, the average wage of a Puerto Rican worker is equivalent to one-third of what an American worker earns and the average income of the inhabitants of the island is half of what is earned by the citizens of the State of Mississippi, the poorest State in the United States. On the other hand, the United States has a monopoly over Puerto Rican trade, forcing Puerto Rico to depend entirely on the United States market and to carry all goods imported from the United States in ships of the United States merchant fleet, which has a monopoly over the island's shipping. The result is that the average prices of goods and basic neces- sities are 25 percent higher than in New York or other American cities. 16. The effects of this situation on the living conditions of the people are easy to imagine. According to official statistics, Puerto Rico has 100,000 unemployed, that is, 14.3 percent of the labour force. One-third of the population had been forced to emigrate to the metropolitan ter- ritory of the United States where they are subjected to harassment and discrimination, reduced to accepting the hardest and least well-paid jobs, crowded together in the ghettos of the big American cities. 17. The same statistics indicate that 81.8 percent of the population of Puerto Rico earns less than $3,000 a year. In an effort to mitigate the effects of the poverty conditions imposed on most of the population of Puerto Rico, the colonial regime has established the so-called system of "maintenance", which consists of the distribution of United States farm surpluses to needy families. On 9 September 1963, a pro-American newspaper published in San Juan, El Mundo, reported on the first page: "850,000 people are living on maintenance", that is, approx- imately 35 percent of the population of Puerto Rico. 19. One of the most brutal aspects of the United States colonial rule in Puerto Rico is the military aspect. Thirteen percent of the best arable land on the island is occupied by a vast network of military bases, including bases with nuclear weapons, which have transformed Puerto Rico into an enormous mili- tary arsenal and constitute a permanent threat to the peace and security of its population while at the same time ensuring military occupation as a means of strengthening colonial control over the territory. United States military activity also encompasses the island group of Vieques and Culebra, which are integral parts of Puerto Rican territory. World opinion has been aware of the criminal conduct of the United States armed forces, which are using the territory of Culebra as a firing range for weapons testing, thus seriously jeopardizing the lives of the people of Culebra, who are engaged in a vigorous battle for the dismantling of the instal- lations established on their island by the United States Navy. 20. Puerto Rico, as a colonial territory, has no armed forces of its own. Yet Puerto Ricans have been made liable for compulsory military service in the armed forces of the United States. Some 200,000 Puerto Ricans served in the United States Army in the First World War, 400,000 in the Second World War, and 40,000 in the aggression against the Democratic People's Republic of Korea in 1950. The imposition of compulsory military service on Puerto Ricans is a crude display of colonialism and racism. III. THE CASE OF PUERTO RICO IN THE UNITED NATIONS 22. In 1953, the General Assembly adopted resolu- tion 748 (VIII) relieving the United States of the obligation to submit the reports referred to in Article 73 e of the Charter in the case of the Territory of Puerto Rico, because the latter had achieved commonwealth status. In operative para- graph 9 of the resolution, the General Assembly stated the following: "The General Assembly "Expresses its assurance that, in accord- ance with the spirit of the present resolution, the ideals embodied in the Charter of the United Nations, the traditions of the people of the United States of America and the political advancement attained by the people of Puerto Rico, due regard will be paid to the will of both the Puerto Rican and American peoples in the conduct of their relations under their present legal statute, and also in the event- uality that either of the parties to the mutually agreed association may desire any change in the terms of this association." The resolution was adopted in the Fourth Committee by a narrow majority of 22 countries in favour, 18 against and 19 abstentions. In order to obtain such a majority, the United States Government had not only to exert all kinds of pressure and carry out endless diplomatic manoeuvres but also to make a pronouncement in the General Assembly through its then representative, Henry Cabot Lodge, who stated as follows: "I am authorized to say on behalf of the President (of the United States) that if, at any time, the Legislative Assembly of Puerto Rico adopts a resolution in favour of more complete or even absolute independence, he will immediately thereafter recommend to Congress that such independence be granted." 1 23. In the 1956 elections, the majority party in Puerto Rico (the Popular Democratic Party) included in its programme a call for greater self- government for the island. That party having won the elections, the legislature of Puerto Rico adopted a resolution urging the United States Congress to grant a broader measure of self-govern- ment by the Commonwealth. Immediately afterwards, the Resident Commissioner for Puerto Rico in Washington, Dr. Antonio Fernos Isern, introduced in the United States Congress a bill incorporating the requests made by the Puerto Rican legislature. Public hearings were held in Washington on this bill (known as the Fernos-Murray Bill), and various executive departments of the United States Government (State, Defense and Commerce) submitted memoranda opposing its adoption. This was the same Government (the Government of President Dwight Eisenhower) which six years previously had made a "solemn promise" to the General Assembly of the United Nations. The Fernos-Murray bill was never adopted. 1, Official Records of the General Assembly, Eighth Session, Plenary Meetings, 159th meeting, para. 66.30 24. In November 1962, the Puerto Rican legislature adopted a further resolution requesting the United States Congress to specify what alternatives -- based on the sovereignty of the people of Puerto Rico -- the United States would offer as a final solution to the political status of Puerto Rico. This resolution was again brought before the Con- gress by the Resident Commissioner for Puerto Rico in Washington through the introduction of a bill in the United States House of Representatives. The bill was considered at public hearings. The op- position of the United States Government was such that the bill had to be completely redrafted, and its only consequence was the establishment of a so- called United States-Puerto Rican commission on the political status of Puerto Rico. The commission, composed of seven Americans and six Puerto Ricans, submitted a report, after several years of bureau- cratic proceedings, recommending that a referendum should be held in Puerto Rico. However, the Con- gress refused to specify what alternatives with respect to political status it was prepared to offer the Puerto Rican people in the referendum, thus reducing it to a farce. 30. In 1967 the Legislature of Puerto Rico, pressured by the United States Government, agreed to hold a referendum to allow Puerto Ricans to choose between independence, statehood and common- wealth status. There was no previous agreement by the United States Congress to accept the majority view emerging from the referendum. Nor was there any definition amplifying the autonomous framework of commonwealth status so that it conformed to the provisions of the United Nations resolution on self- determination. More than 60,000 American residents of Puerto Rico and thousands of foreigners also living on the island and naturalized as United States citizens took part as voters in the referen- dum. The referendum was organized and administered by the same colonial regime which administers the periodic elections held in Puerto Rico. In view of all the foregoing, all the Puerto Rican organiza- tions in favour of independence agreed to boycott the referendum. On 16 July 1967 they held a mass rally in San Juan to protest against it. This rally was attended by the largest crowd ever gathered together at any political meeting in Puerto Rico. 31. As part of their campaign of repudiation of the spurious referendum, the Puerto Ricans favouring independence appointed a Joint Committee which visited the United Nations in April 1967. Members of this Committee held talks with most of the repre- sentatives serving on the Special Committee and re- quested its Chairman and other members to clarify immediately the question of Puerto Rico so as to prevent the spurious referendum from becoming a fait accompli before the Special Committee examined it. As a result of this move, the Special Committee began discussion of the outstanding question of the inclusion of the case of Puerto Rico in its agenda. This discussion took place at two consecutive meetings of the Special Committee in April 1967. At the end of the second of these meetings and after four of its members had favoured the inclusion of the case of Puerto Rico and four had opposed it, the Committee agreed to postpone the discussion sine die. Since then, the Special Committee has not taken any action on the request made to it by the Government of Cuba, the Conference of Heads of State or Government of Non-Aligned Countries, and Puerto Rican patriotic organizations. IV. FALSIFICATIONS BY THE UNITED STATES AND THE TRUE STATUS OF PUERTO RICO AS A COLONY OF THE UNITED STATES 32. In order to impose on the General Assembly the adoption of resolution 748 (VIII), the United States Government shamefully misrepresented the information on the true nature of events which had taken place on the island. The resolution was adopted on the assumption that Puerto Rico had conducted a referendum in which the people had chosen a new legal status for the territory. 33. It suffices to analyse briefly the contents of the spurious referendum and the conditions under which it was held to understand that, far from constituting an expression of the right of self- determination, it was a clinical manifestation of colonialism and the negation of the most elementary national rights of the Puerto Rican people. 34. Apart from being held under full United States military occupation and in the midst of the most ferocious repression, with prisons full of patriots the so-called referendum of 1952 did not allow the voters to opt for independence. They were asked to choose only between the traditional colonial regime which had existed up to that time and a regime of so-called "disguised colonialism," namely, the same colonial regime masquerading under the false title of "commonwealth status." 35. In section II of this memorandum we have an- alysed the present situation in Puerto Rico under the so-called "commonwealth status", which is a typical case of traditional colonialism. We shall now consider how the colonial leaders themselves described the scope of United States Public Law 600 which brought into effect the already-mentioned changes in the colonial regime and the Puerto Rican Constitution of 1952. On 12 July 1949, during the hearings conducted on this question by the United States Congress, the then colonial governor of Puerto Rico stated: "In practice the Constitution will probably be very similar, following the basic lines of the Constitution now in force by action of Congress. In practice, the amount of self- government will not be different."* 36. Antonio Fernos Isern, Commissioner of Puerto Rico to the United States Congress, stated: "Public Law 600 would not alter the political, social and economic relations between Puerto Rico and the United States. It would not alter the powers of sovereignty obtained by the United States over Puerto Rico under the Treaty of Paris."* (i.e. the treaty which converted Puerto Rico into a United States colony.) 37. United States Representative, Fred L. Drawford, during the same hearings, stated quite frankly: "Everyone knows that the Federal Relations Law, as amended by Public Law 600, which deals with the matters now being negotiated, is still in force and that the people of Puerto Rico remain firmly under the supervision of Congress and under the provisions of the Federal Relations Law."* * Provisional translation31 38. On 23 June 1953, Senator O'Mahoney, Chairman of the Interior and Insular Affairs Committee of the United States Senate, made the following summary of the opinions of his Committee on the so- called "modifications" introduced into the status of Puerto Rico: "The Committee has reached the conclusion that the Constitution operates within a very limited sphere. It concerns questions which relate exclusively to the local interests of the people of Puerto Rico. It deals with nothing else except the municipal government of Puerto Rico."* 39. It is not surprising therefore that the United States encountered serious difficulties in securing the adoption of General Assembly resolution 748 (VIII) by such a narrow margin of votes although in 1953 the United Nations had only half its present member- ship and at that time colonialism was still dominant in a large part of the globe. V. CONCLUSION 40. The people of Puerto Rico, like all peoples subjected to foreign domination, has an inalienable right to independence. The United Nations has promised to support all colonial peoples striving to attain self-determination and sovereignty. It has the unavoidable duty, if it wishes to respect the principles embodied in the Charter and in resolution 1514 (XV), to take all necessary steps to ensure that the people of Puerto Rico also achieve the full exercise of their national rights. 41. More than four years have passed since the Special Committee responsible for considering the implementation of resolution 1514 (XV) [explained in sections 25-29 not printed here] discussed, without reaching a final decision, the question of Puerto Rico. The struggle of the Puerto Rican people for its independence and national sovereignty continues apace. The repression unleashed by the imperialist Government of the United States and * Provisional translation the puppet authorities of Puerto Rico against the patriotic elements of the country have escalated to levels of unspeakable brutality during recent times and the Puerto Rican independence movement is again demanding the clarification of this im- portant question by the United Nations in the light of resolution 1514 (XV) of December 1960. 42. Since the Special Committee has taken no action, the General Assembly must adopt the pertinent deci- sions in accordance with the anti-colonial attitude of the majority of its Members. The Revolutionary Government of Cuba is confident that, with the support of the independent and progressive Members of the United Nations, the Organization will assist the Puerto Ricans in their struggle for complete national independence and the total and unconditional liquidation of the colonial regime which has been imposed on their territory.
5858	dbpedia	0	9	https://borinqueneers.com/en_US/soldier/1lt-adolfo-j-de-hostos/	en	1LT Adolfo J. de Hostos – The Borinqueneers	https://borinqueneers.co…x512-100x100.jpg	https://borinqueneers.co…x512-100x100.jpg	[ "https://borinqueneers.com/wp-content/uploads/2019/01/SOLDIER-512x512.jpg", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2019/01/SOLDIER-512x512.jpg", "https://borinqueneers.com/wp-content/uploads/2018/08/page-title-bg.jpg", "https://borinqueneers.com/wp-content/uploads/2024/04/DeHostos-Adolfo-LT-8x10-72-WM.jpg", "https://moderate2-v4.cleantalk.org/pixel/2a324a796997363717863d35d13e13d1.gif" ]	[]	[]	[ "" ]	null	[]	null		en	https://borinqueneers.co…x512-100x100.jpg		https://borinqueneers.com/en_US/soldier/1lt-adolfo-j-de-hostos/	Article: Adolfo Joseph de Hostos (born in January 8, 1887 in Santo Domingo, Dominican Republic – October 29, 1982 in San Juan, Puerto Rico). He was the son of Eugenio Maria de Hostos (a Puerto Rican educator, philosopher, intellectual, lawyer, sociologist, novelist, and Puerto Rican independence advocate.) and brother of Eugenio Carlos de Hostos, who also served as an officer in Companies B and E in the Porto Rico Regiment from 1905-1920. Adolfo served in the military from 1905-1919 as one of the first Puerto Rican officers of the Porto Rico Regiment and as a military aide to Gov. Arthur Yeager before his appointment by Gov. Blanton Winship as the fifth Official Historian of Puerto Rico from January 1936 to 1950, a position created in March, 1903, by the Puerto Rico Legislature.
5858	dbpedia	3	2	https://www.hostos.cuny.edu/hostos50	en	Hostos Community College	https://www.hostos.cuny.edu/favicon.ico	https://www.hostos.cuny.edu/favicon.ico	[ "https://www.hostos.cuny.edu/App_Themes/Hostos/images/logo50.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/barheader50.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/transforminglives50.png", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/slider-6.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/a-bldg-1968.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/slider-2.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/slider-3.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/slider-4.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/slider-5.jpg", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/div50-close.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/shim.gif", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/div50-close.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/shim.gif", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/div50-close.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/shim.gif", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/div50-close.png", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/shim.gif", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/div50-close.png", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1968-Proposal-Number-8.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Nasry-Michelen-Re_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1974-Hostos-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1975-1976-1977-Hostos-04.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Candido-de-Leon-Re_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1970-450-Grand-Concourse-149-Street-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1975-1976-1977-Hostos-GeMe-742.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1975-1976-1977-Hostos-GeMe-740.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1978-1979-1980-Hostos-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/00198_1985_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Isaura-Santiago-Santiago_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1978-1979-1980-Hostos-02.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/00344_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/00297_edit_1.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/00135_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1990-1993-1994-Hostos-05.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1990-1993-1994-Hostos-Theater-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Dolores-Fernandez_edit.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/1998-2007-Hostos-01.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2007-Tree-of-Life.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2011-2012-Hostos-02.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2011-2012-Hostos-04.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2013-Hostos-02.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2013-Hostos-05.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/caimans-1.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2014-Hostos-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/GreenMarket_GrowNYC.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/CUNYAC_logo.png", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/hostos_documentary_2016.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/DigitalCommunity-Survey_1.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Abby-Dobson-pic_2016.jpeg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/fabian_healthybeveragezone_2016.png", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Save-Hostos-flyer_2016.jpeg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2011-2012-Hostos-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Sonia-Sotomayor_edit.png", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2013-Hostos-09.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2014-Hostos-175.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2014-Hostos-Sloan-Award-Bernabe-01.JPG", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/JAY-2015_resize.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2015-Hostos-Golf-Outing-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Las-Casitas_2015_resize.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/2016-Hostos-Commencement-01.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/FatJoe_2016.jpeg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/Giving-Tuesday_2016.jpg", "http://www.hostos.cuny.edu/Hostos/media/Hostos-News/Hostos50/a-brief-history-1.jpeg", "https://www.hostos.cuny.edu/App_Themes/Hostos/images/logo50footer.png" ]	[]	[]	[ "hostos50 - Hostos Community College" ]	null	[]	null	hostos50 - Hostos Community College	en	/favicon.ico		null	April 1968 Board of Higher Education formally founds college. November 1968 Cándido de León appointed first dean of administration and proposes organization of the College. September 1969 College is named after Eugenio María de Hostos, making it the first college in the continental United States so honoring a Puerto Rican. De León’s proposal adopted by Board. September 1971 Cándido de León appointed president, thus becoming the first Puerto Rican to head an institution of higher learning in the U.S. Spring 1973 Bilingual approach to instruction is in place. May 1974 "500 Building" acquired through special legislation passed in Albany. Summer 1974 College granted full and unconditional accreditation by Commission on Higher Education. Summer-Fall 1975 City's fiscal crisis worsens. Rumors of the merger of Hostos with Bronx Community College begin to circulate. College begins to mobilize. Fall 1977 Enrollment at record level, College Community resumes campaign for “500 Building.” Hostos United is founded. Spring 2007 Since its founding in the Spring of 2007, The Circle of 100 Scholarship & Emergency Fund has awarded twenty-two $1,000 scholarships and forty five $500 or less emergency grants. The Circle of 100 makes these emergency grants and scholarships available to students with excellent academic records who are close to graduating and graduates who need some help in making the transition to a four-year college. The circle of 100 was founded by the late and beloved Virginia Paris, Professor emeritus Gerald Meyer and Nydia Edgecombe. February 2011 Hostos Repertory Company wins two awards at Kennedy Center's American College Theater Festival. May 2012 Wallace Edgecombe, also known as “Wally” retired after 38-years as Executive Director of the Hostos Center for Arts and Culture and being a leader of arts and culture in the Bronx. December 2012 Division of Continuing Education & Workforce Development opens two new $1.4 million facility at the Bronx Terminal Market. CUNY in the Heights also moves into its new space in Manhattan. April 2013 Hostos celebrates official 45th anniversary. College marks its birthday with large community service project, THE BIG EVENT. August 2013 Hostos Repertory Company is the only community college from North America to perform at the Edinburgh Festival Fringe in Scotland. September 2013 CUNY CareerPATH Community Health Worker Certificate Program sees first graduate to enter Hostos Community College. Hostos’ partnership with Montefiore Medical Center, the Department of Education and CUNY conceived the Health, Education, and Research Occupations (H.E.R.O) High School where a first cohort of 100 ninth graders began preparing for careers in nursing and community health workers. February 2014 Caimans wins CUNYAC Regular Season title. July 2014 Hostos Community College receives $300,000 grant from the Stavros Niarchos Foundation (SNF) to launch a veterans support program called “Hostos Community Heroes.” Hostos Community College, Phipps Neighborhoods, and Montefiore Health System Announce $1M Grant from JPMorgan Chase to support their Career Network: Healthcare partnership in the South Bronx. Governor Andrew M. Cuomo announced that Hostos Community College would receive two grants—$2.2 million for an “Allied Health Training for Employment” initiative and part of $4.6 million for a new multi-campus media program— as part of Governor Cuomo’s CUNY 2020 initiative. September 2014 Hostos named one of the Top 10 Finalists for the 2015 ASPEN Prize for Community College Excellence. Hostos receives $2.6 million Title V Grant Award from the United States Department of Education. November 2014 English Department Lecturer Cynthia Jones was selected as the 2014 New York State Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and the Council for Advancement and Support of Education (CASE). July 2015 Hostos opens College's first large farmer's market with GrowNYC. October 2015 Hostos Community College’s Division for Continuing Education and Workforce Development (CEWD) awarded a five-year, $10.7 million Health Profession Opportunity Grant (HPOG) from the U.S. Department of Health and Human Services’ Administration for Children and Families (ACF). January 2016 Basketball coach Marquee Poole earned Community College Coach of the Year honors; Jefferson Francois, a forward on the men's basketball team won Player of the Year; and Corina Coles, a guard, earned Rookie of the year for her stellar play on the women's basketball team at CUNYAC Awards banquet. March 2016 40th Anniversary of Campaign to Save Hostos Community College celebrated with the documentary, "Hostos, The Struggle, The Victory." April 2016 Hostos finishes 1st place in National Technology Survey. Acclaimed singer-songwriter Abby Dobson performs and speaks about her female influences at grand Women's History Month finale. October 2016 Hostos and "Healthy Beverage Zone" gives the Borough better choices. Decemeber 2016 Piece of Hostos Archive on Exhibit at The Museum of the City Of New York - A 1976 flyer from Hostos Professor Emeritus Dr. Gerald Meyer’s “Save Hostos” collection is on display as part of the Museum of the City of New York’s exhibit titled, “New York at Its Core.” It is also featured in a new book about the 1970s fiscal crisis in New York City. March 2012 Ribbon cutting ceremony inaugurates a $9.1 million renovated and redesigned 5th Floor in the 500 Grand Concourse Building. October 2012 National Science Foundation Awards Hostos more than $900,000 for STEM Projects. November 2012 Hostos Professor Rees Shad named 2012 New York State Professor of the Year by the Carnegie Foundation for the Advancement of Teaching and the Council for Advancement and Support of Education (CASE). January 2013 The Caiman's men's baskeball team enters Top 10 in NJCAA Division III rankings. February 2013 U.S. Associate Supreme Court Justice Sonia Sotomayor becomes the first guest of the Hostos Heritage Lecture Series. Other speakers included journalist Cheryl Willis, and Pulitzer Prize winner Junot Díaz. June 2013 United States Secretary of Education Arne Duncan gives keynote address at the College’s largest commencement ceremony to date as Hostos confers a record number of 907 degrees in the New York City Center. January 2014 Hostos 175, a year-long commemoration of Eugenio María de Hostos 175th anniversary is held at the College, with numerous academic and artistic events. Hostos receives $100,000 grant award from Citi Community Development for a pilot program, “Summer Success 101: Student Financial Literacy and Retention Program. Hostos launches new Food Studies Program. April 2014 Proyecto Access STEP third-place prize from the 16th Annual STEP Statewide Student Conference. June 2014 Public Safety Director, Chief Arnaldo Bernabe received the 2014 Sloan Public Service Award by the Fund for The City of New York. Chief Bernabe was also the first Hostos Community College employee to win this award and the first CUNY-wide Public Safety Officer (in the civil service rank) to receive the honor. October 2014 Internationally renowned artist Antonio Martorell, visits Hostos for its 175th celebration to give lecture, “Hostos By Us,” displaying a series of paintings, drawings, sculptures and other artwork represented who Eugenio María de Hostos was. December 2014 Hostos Unveils Portrait Painted By Famed Artist Pablo Marcano García. February 2015 Hostos Center for the Arts and Culture Presents New York City premiere of the groundbreaking project, "Identities Are Changeable," by MacArthur Fellow and internally renowned saxophonist/composer Miguel Zenón. April 2015 Shawn "Jay Z" Carter Visits Hostos to Talk About the State of Music Industry. September 2015 Hostos celebrates diamond anniversary of its Annual Golf Outing. November 2015 Hostos event celebrates the preservation of local history through Las Casitas Archives. June 2016 Hostos Community College graduates its largest graduating class to date. August 2016 Rapper Fat Joe releases new video at Hostos. November 2016 Hostos smashes #GivingTuesday fundraising goal (beginning at $7K ending $63K +).
5858	dbpedia	1	97	https://www.jplinguistics.com/spanish-blog/a-puerto-rican-celebration-of-hispanic-heritage-month-in-nyc	en	A Puerto Rican Celebration of Hispanic Heritage Month in NYC — JP Linguistics	http://static1.squarespace.com/static/516411ffe4b032c4bb3b62e3/57a79297725e25e92a306071/5f73899bb2916e5f6374ce0a/1601411196422/puerto-rico-1292634_1280.jpg?format=1500w	http://static1.squarespace.com/static/516411ffe4b032c4bb3b62e3/57a79297725e25e92a306071/5f73899bb2916e5f6374ce0a/1601411196422/puerto-rico-1292634_1280.jpg?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/516411ffe4b032c4bb3b62e3/1586625400874-WYL313EWI859GQFL7JUP/LOGO-nobackground.png", "https://images.squarespace-cdn.com/content/v1/516411ffe4b032c4bb3b62e3/1586625400874-WYL313EWI859GQFL7JUP/LOGO-nobackground.png", "https://images.squarespace-cdn.com/content/v1/516411ffe4b032c4bb3b62e3/1601409853495-F8I333CCLXE4KHPL8XC2/Besanya.Santiago.r-1024x683.jpg" ]	[]	[]	[ "" ]	null	[ "JP Linguistics" ]	2020-09-29T16:26:36-04:00	Check out all of the ways to support the Puerto Rican NYC community this month!	en	https://images.squarespace-cdn.com/content/v1/516411ffe4b032c4bb3b62e3/1586625201394-RVO7H1NKBCA2NOL0ZEXO/favicon.ico?format=100w	JP Linguistics - French, Italian, Spanish Classes in NYC	https://www.jplinguistics.com/spanish-blog/a-puerto-rican-celebration-of-hispanic-heritage-month-in-nyc	by Besanya Santiago National Hispanic Heritage month has arrived! We all know what means, right? Well, if you’ve lived anywhere near us, you should already know this. But let me just say it for my people in the back: NOT EVEN COVID-19 WILL STOP US FROM CELEBRATING ALL MONTH LONG. Punto y se acabó! This is the time to communicate with each other in a way we never have before. The New York City local community needs our support now more than ever. We may not be able to be there physically but we can still be there. Aaaaaand, might I add, we can be there in the comfort of our own home, wearing our pajamas, fuzzy slippers, hair going sixteen different directions with a piña colada in hand and a margarita in queue. I don’t even drink and that sounds fabulous. Vamos allá. So, what is National Hispanic Heritage Month? A month long celebration in the United States, this is a time period where we honor the cultures and contributions made by Latin Americans throughout the country. In 1968, President Lyndon B. Johnson signed this legislation put forward by Los Angeles Representative Edward R. Roybal. Originally, it was Hispanic Heritage Week but, lets be real, have you met us? Our birthdays alone last an entire month. One week was not enough time to properly pay homage to the list of accomplishments Latin Americans have made. Therefore, in 1988 new legislation was introduced to extend the week into a month from September 15 to October 15. The date was chosen for being the independence day anniversary of five Latin American countries: Nicaragua, El Salvador, Honduras, Costa Rica and Guatemala. And thanks to George H. W. Bush, as of 1989 we have an entire month paying tribute to those who deserve it most. Albeit Puerto Rico’s political status remains undetermined, this should not diminish the numerous contributions Puerto Ricans have made in this country. From independence advocate Ramón Emeterio Betances to Associate Justice Sonia Sotomayor, Puerto Ricans have traveled far to get to where we are today. And yes, there is still progress to be made. But for now, lets take a pause to reflect, recognize and celebrate the accomplishment of some pretty inspiring Boricuas. And don’t forget that piña colada. Take A Salsa Class Although salsa music didn’t technically originate in Puerto Rico, it is an immense part of the culture. The roots of salsa came from Eastern Cuba from the Cuban Son as well as Afro-Cuban dance. During the 1950s, it traveled to New York City where it continued to develop within the Puerto Rican community. So, if there is one thing New York City is not short of, it is salsa dance classes. Founded by dancer and choreographer Tina Ramirez, the Ballet Hispánico is a dance company representative of Hispanic culture in the United States. They perform all over the world while offering a variety of dance classes for ages 3+ that are now available online. Salsa Tuesdays is just one of the many awesome virtual dance courses on the schedule. Upcoming Events: Wepa Wednesday performances feat. Bombazo Dance Company Learn To Cook Mofongo A must try staple of Puerto Rican cuisine, Mofongo is even better when made at home. And if you have dietary restrictions, this is a simple way to fearlessly enjoy a new culinary culture by substituting ingredients as you see fit. Two exceptional channels are Sweets and Beyond and Cooking Con Omi for teaching Puerto Rican recipes. They’re also a useful tool for Spanish learners to get an additional benefit by learning to cook a new recipe while mastering new vocabulary without even realizing it. One of the most popular videos? Making mofongo. And let me just go ahead and co-sign that the recipe is on point. Local Restaurants for Mofongo: Casa Adela and The Freakin’ Rican Restaurant Pick up a Book Literature may not be the first thing that comes to mind when people think of Puerto Rico but it’s actually about as old as the country itself. It was officially born in 1843 when a book of short stories and poetry named El Aguinaldo Puertorriqueño was published by a group of young authors. Since then, many incredible writers such as Eugenio Maria de Hostos, Lola Rodriguez and Julia de Burgos continued to shape the foundations of Puerto Rico’s literary movement, making it what it is today. A few must-read contemporary books include When I Was Puerto Rican by Esmeralda Santiago, War Against All Puerto Ricans by Nelson Denis and We Fed An Island by José Andrés. Local Bookstores: Mil Mundos Books, Cafe Con Libros and Libreria Barco de PapelMil Mundos Books Watch Musical Performances The Hostos Center for Arts and Culture has been an integral part of the artistic community since 1982. Part of the CUNY network, it was the first college named after a Puerto Rican (yep, the same Eugenio Maria de Hostos previously mentioned here). They are a name well worth knowing as they are constantly giving the Latin American community a voice. Another great organization is The Puerto Rican Traveling Theater. Founded by iconic Puerto Rican actress Miriam Colón, their main focus is to exhibit works that promote cultural awareness, all while opening up artistic opportunities to those within their own community. And luckily for us, both institutions have made all their performances available online. Upcoming Events: BomPlenazo 2020 and The Greater Good Theater Festival Listen To Podcasts Living in New York City, listening to podcasts is an an essential part of any commute. And as much we just love the eclectic variety of live performances on the metro, sometimes we could use a change of scenery. Podcasts are an ideal way to learn about Latin American culture in addition to keeping up with current events. Latino USA produced by NPR and hosted by Maria Hinojosa is popular due to its cross cultural nature in discussing political and social topics. Up for a language challenge? Directly from Puerto Rico, Siempre es Lunes is a fun, light hearted podcast that will submerge you headfirst into the Puerto Rican dialect. If you’re simply looking to have a good laugh, check out Latinos Out Loud and Bodega Boys. Noteworthy Episodes: Bobby Sanabria Reimagines West Side Story and Death of a Blood Sport
5858	dbpedia	1	78	https://citylore.org/somos-boricuas-faculty-2/	en	Somos Boricuas Faculty	https://citylore.org/wp-…ae3cc41emv2.webp	https://citylore.org/wp-…ae3cc41emv2.webp	[ "https://citylore.org/wp-content/uploads/2020/02/cropped-City-Lore-logo-1-150x67.png", "https://citylore.org/wp-content/uploads/2021/01/skyline-7.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/CCCADI.staff_by.Mikey_.Cordero-05565-1055195522-scaled-qh5rj5sysqc71412eph60vk0qyl9ffeq74gq0xs9xo.jpg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Screen-Shot-2023-12-15-at-11.45.20-AM-qguufis47xt75w2q1l0ebzrkyq7xxydpv0ezo8k6j6.png", "https://citylore.org/wp-content/uploads/2024/01/Mariposa.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Screen-Shot-2023-11-29-at-3.38.05-PM-qg3a61icdfsqj5ine9zmdon3wiuih9kyy3olr35lfw.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/IMG_0555-qg3a5zmnzrq5vxldp96d8p46pr3s1vdi9udmsj8f9o.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Alex-LaSalle-scaled-qhsjptql0o47kswgf9r85fbhwbf1oh7zejnru8azj4.jpg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Felipe-Luciano-qgqjziq08cl626adjqq2yjgjv0re7ck5rk3wkufhd2.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/image0-qgcp7kin1q8uqqb2oomm65tz6dcqapokpuun4rw8zg.jpeg", "https://citylore.org/wp-content/uploads/2023/12/Cesar-Foto_JPEG-350x467.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/IMG-20231207-WA0003-qgqjtij4kgd7vv0em59w120j8ecz0ypw9u2877c3g2.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Screen-Shot-2023-12-05-at-1.49.59-AM-qgcprinc35jx4tby7b1l34m50r15ngvi4l9ls6biiw.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/BOBBY-VF-PHOTO-qepakes1695i5a9fzby4742cgez89x472zy945geew.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Suzanne-Seriff-headshot--qep9y340uwlceootc6k3h8v8jz0egphp0i63skk24c.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/BasilioSerranoPicture-qesbwoiv8rlziqlxxb1acb43m7lnbcu6lq9rnz3vza.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Torres-photo-scaled-qgcpjuas9v1mbghd0zl9q2cmdgv8sgef2lguotpaww.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Nitza-Tufino-qh045ldkpnnxpn0j7x46ag5ds9nx9hakwq9ty9jmve.webp", "https://citylore.org/wp-content/uploads/elementor/thumbs/Valentin-GIDEST-Portrait-V2-scaled-qg3a6srnvmu1vuf1z3rsvzrh4p45ohl6puloo4150m.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Venator_221004b040-scaled-qesbwlpco9i4jwq1drtemttpu1zjo9izlcbb85825q.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Elena--qepc8le0rdjfigubjuh6cfbtpkca491hovogay7y0e.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Staff_Amanda-Dargan-1-qepc8p5dipokswouxw3omedo33tqz1gf1eae822f3y.webp", "https://citylore.org/wp-content/uploads/elementor/thumbs/MOlly--qepc8n9p51m05orl8vafheuqwc30jn8yd4zf9i56yw.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Sahar-Muradi-photo-cropped_credit-Christopher-Lucka-qf4eeaft6dskxwaswz7gxpbe3e3p4lxvgi6kzp5196.jpeg", "https://citylore.org/wp-content/uploads/elementor/thumbs/Screen-Shot-2022-11-18-at-10.28.47-AM-qgqlap8d9z6atjr71mwxm4uhaa7nkev4l2yaruh4vc.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/w_064_LESHeroAwards_CherylynnTsushima_CherylynnTsushima_20170518_jpg-qepc8r11wdr5g4m4mwwxrdwl9vkhefnvpnld6lzmrs.webp", "https://citylore.org/wp-content/uploads/2020/02/cropped-City-Lore-logo-1.png", "https://citylore.org/wp-content/uploads/elementor/thumbs/cropped-City-Lore-logo-1-phggb9an8u1cy3rlbqpuipe0etsliv8d42a27qpvp4.png" ]	[]	[]	[ "" ]	null	[ "Joseph Gurbo" ]	2024-01-04T01:25:06+00:00	was appointed executive director of CCCADI in 2018. She began her long tenure at the organization in 1984 and throughout the years has established herself as	en	https://citylore.org/wp-…9460-100x100.png	City Lore	https://citylore.org/somos-boricuas-faculty-2/	Suzanne Seriff is an award winning innovator in the museum and community arts world with over 30 years experience working with traditional artists, performers and storytellers to transform communities through the power of local, place-based expressive arts. A PhD in Folklore and Ethnomusicology from the University of Texas at Austin, Seriff combines innovative teaching on civic engagement through the traditional arts at the University of Texas at Austin with consultation and curation, nationwide, on issues relating the intersection of traditional arts and social justice to museum and public arts projects. Seriff has directed several nationally traveling museum projects include “Recycled, Re-Seen: Folk Art from the Global Scrap Heap,” produced for the Museum of International Folk Art, which won AAM’s 1997 Curator’s Committee Exhibition Award and the NEH-funded exhibit “Forgotten Gateway: Coming to American Through Galveston Island,” which uses history to engage contemporary stakeholders in a conversation about enduring issues faced by immigrants throughout our nation’s history such as “Who can be an American?” and “Who gets to decide?” From 2010-2017, Dr. Seriff served as guest curator and later Director of the Gallery of Conscience at the Museum of International Folk Art, a participatory exhibition space that draws on the power of folk art to spark meaningful community engagement around social justice and human rights issues of our time including women’s empowerment, natural disaster, forced internment during war, and HIV/AIDS. Elena Martinez received a MA in Anthropology and an MA in Folklore from the University of Oregon. She is the Co-Artistic Director of the Bronx Music Heritage Center and has been a Folklorist at City Lore since 1997. Her work has included getting Casa Amadeo (the longest continually-run Latin music store in NYC) nominated to the National Register of Historic Places (the first nomination relating to the Puerto Rican experience on the mainland); and nominating master Puerto Rican lacemaker (the art of mundillo) Rosa Elena Egipciaco for a NEA National Heritage Award. She co-produced the documentary, From Mambo to Hip Hop: A South Bronx Tale, which aired on PBS in September 2006 and won the NCLR’s (National Council of La Raza) 2007 ALMA Award for Best TV Documentary. She was a producer for the documentary, We Like It LikeThat: The Story of Latin Boogaloo, which premiered at the SXSW Festival in 2015. She was also a producer on the short documentary, Eddie Palmieri: A Revolution on Harlem River Drive (Red Bull Academy 2016). Elena curated the exhibition, “¡Que bonita bandera!: The Puerto Rican Flag as Folk Art,” and was the Assistant Curator for the exhibit, “Nueva York: 1613-1945” at El Museo del Barrio (2010). She co-curated the exhibit, “Las Tres Hermanas: Art & Activism,” with Joe Conzo Jr. which was featured at the Bronx Music Heritage Center Hostos Community College and the Center forPuerto Rican Studies in 2017. She has written “¡Que Bonita Bandera!: Place, Space and Identity as Expressed Through the Puerto Rican Flag” in Public Performance: Studies in the Carnivelesque and Ritualesque edited by Jack Santino(2017). In 2013 she gave the Botkin Lecture for the American Folklore Center at the Library of Congress, “I’d Still Be Puerto Rican, Even if Born on the Moon: Puerto Rican Migration and Community Through the Expressive Arts.” She was recently a contributor to Lincoln Center’s Legacies of San Juan Hill project and a consultant for the Smithsonian’s National Museum of the American Latino. She was on the Community Advisory Board for Steven Spielberg’s 2022 West Side Story. Amanda Dargan is the Director of Special Projects in Education at City Lore and served for 27 years as Education Director. Her research interests include children’s play, word play, world poetry duels, informal learning, family folklore, and folk arts in education. She currently serves on the boards of the American Folklore Society and the Association for Cultural Equity. Her publications include City Play, a book about children’s informal play in New York City, articles in the books A Celebration of American Family Folklore, Encyclopedia of New York City, New Encyclopedia of Southern Culture, Through the Schoolhouse Door, and Play from Birth to Twelve and Beyond, and in the journals, Journal of American Folklore, Journal of Learning through the Arts, Journal of Folklore and Education, Teachers and Writers Magazine, and Educational Leadership. She was co-editor for many years of CARTS, a magazine devoted to folk arts in education, and The Culture Catalog, that offered cultural arts resources for educators. She holds an MA in Folklore from Memorial University of Newfoundland and a PhD in Folklore from the University of Pennsylvania. In 2019, she was awarded the Benjamin A. Botkin award by the American Folklore Society for significant lifetime achievement in public sector folklore. Sahar Muradi is the Director of Education Programs at City Lore, which brings a cultural and community-based perspective to arts education. Her responsibilities include developing and overseeing school partnership programs, developing professional development programs for educators, helping grow and support a 30+ cohort of teaching artists, and collaboratively leading the Education Programs team. Before City Lore, she facilitated social advocacy and international service programs for young people, and prior to that, worked with government and civil society groups in her native Afghanistan. Sahar is author of the collection OCTOBERS, selected by Naomi Shihab Nye for the 2022 Donald Hall Prize for Poetry and a finalist for the National Poetry Series. She is author of the chapbooks [ G A T E S ], Ask Hafiz, A Garden Beyond My Hand, and A Ritual in X Movements. She is co-editor, with Seelai Karzai, of EMERGENC(Y): Writing Afghan Lives Beyond the Forever War, An Anthology of Writing from Afghanistan and its Diaspora; and, with Zohra Saed, of One Story, Thirty. Stories: An Anthology of Contemporary Afghan American Literature. Eva Pedriglieri is City Lore’s Communications Manager overseeing all social media platforms and email communications for projects and public programs. She is also the Education Program Coordinator, bringing her own interest and experience as a teaching artist to the role. She has served as a cultural ambassador and English teacher for the US as part of a Fulbright grant in southern Italy. She is also a practicing interdisciplinary artist with a degree in fine arts from Parsons School of Design and has exhibited her artwork in various galleries and international festivals in the US, Europe and the Caribbean. Her work investigates and represents cultural tradition and heritage through personal and community identity through performance, installation, painting and social practice. Learn more about her work: www.evaliaart.com Steve Zeitlin is the founding Executive Director of City Lore, an organization dedicated to the preservation of cultural heritage. With a focus on New York, but with an increasing number of projects of national and international scope, City Lore works with grassroots cultures to ensure their living legacy in stories and histories, places and traditions. City Lore’s successful programs include Place Matters, the People’s Hall of Fame, and the POEMobile which projects poems on to buildings in tandem with live readings and performances. In 2007, he received the Benjamin Botkin Award from the American Folklore Society for lifetime achievement in public folklore. In 2010, he was awarded an Archie Green fellowship from the Library of Congress. Steve Zeitlin has served as a regular commentator for a number of nationally syndicated public radio shows, and his commentaries have appeared on the Op Ed pages of The New York Times and Newsday. He also coproduced with NPR producer Dave Isay the storytelling series American Talkers for NPR’s Weekend Edition Sunday and Morning Edition. Prior to arriving in New York, Steve Zeitlin served for eight years as a folklorist at the Smithsonian Institution in Washington, D.C., and has taught at George Washington, American University, NYU, and Cooper Union. He is coauthor of a number of award winning books on America’s folk culture including A Celebration of American Family Folklore (Pantheon Books, 1982); The Grand Generation: Memory Mastery and Legacy (U. of Washington Press, l987); City Play (Rutgers University Press, l990); Because God Loves Stories: An Anthology of Jewish Storytelling (Simon & Schuster, 1997); Giving a Voice to Sorrow: Personal Responses to Death and Mourning (Penguin-Putnam, 2001), and Hidden New York: A Guide to Places that Matter (Rutgers U. Press, October, 2006). He is the author of a volume of poetry, I Hear American Singing in the Rain (First Street Press, 2002), and his poems have appeared in Rolling Stone Magazine, Literary Review East and other publications. His book, The Poetry of Everyday Life, was published by Cornell University Press in 2016. Steve has also coproduced a number of award winning film documentaries Free Show Tonight on the traveling medicine shows of the l920s and 30s; From Mambo to Hip Hop, broadcast on public television in the fall of 2006, and winner of an Alma Award for Best Documentary; Deaf Jam, about American Sign Language poets, recently broadcast by Independent Lens on PBS; and Let’s Get the Rhythm: the Life and Times of Miss Mary Mack, which premiered at the Margaret Mead Film Festival in 2014.
5858	dbpedia	2	95	https://www.hercampus.com/school/upr/badass-and-unapologetic-list-8-most-iconic-women-puerto-rican-herstory/	en	Badass and Unapologetic: A list of 8 of the most iconic women in Puerto Rican Herstory	https://cdn.bfldr.com/SH6M70M3/as/q8qlsn-9tu7m8-1fwo2q/social_justice_while_social_distancing?width=1200&height=630&fit=crop&auto=webp	https://cdn.bfldr.com/SH6M70M3/as/q8qlsn-9tu7m8-1fwo2q/social_justice_while_social_distancing?width=1200&height=630&fit=crop&auto=webp	[ "https://www.hercampus.com/wp-content/themes/hercampus/src/img/hc-logo-black.svg", "https://www.hercampus.com/wp-content/themes/hercampus/src/img/hc-logo-black.svg", "https://cdn.bfldr.com/SH6M70M3/as/q8qlsn-9tu7m8-1fwo2q/social_justice_while_social_distancing?width=719&height=464&fit=crop&auto=webp", "https://cdn.bfldr.com/SH6M70M3/as/q8qlsn-9tu7m8-1fwo2q/social_justice_while_social_distancing?width=398&height=256&fit=crop&auto=webp", "https://www.hercampus.com/cdn-cgi/image/width=130,height=130,quality=80,fit=crop/wp-content/uploads/wp-user-manager-uploads/2020/06/IMG_20180429_145055_150_0.jpg", "https://www.hercampus.com/wp-content/themes/hercampus/src/img/hc-avatar.svg", "https://www.hercampus.com/cdn-cgi/image/width=130,height=130,quality=80,fit=crop/wp-content/uploads/wp-user-manager-uploads/2020/06/IMG_20180429_145055_150_0.jpg", "https://www.hercampus.com/wp-content/themes/hercampus/src/img/hc-avatar.svg", "https://www.hercampus.com/wp-content/themes/hercampus/src/img/hc-logo-white.svg" ]	[ "https://www.instagram.com/p/B9QE9MMB_ao/embed/captioned/", "https://www.instagram.com/p/B-TPomijyhH/embed/captioned/", "https://www.instagram.com/p/B9sdxpAlMNh/embed/captioned/", "https://www.instagram.com/p/B4Q6VAch_Ro/embed/captioned/", "https://www.instagram.com/p/BtikSW3huEL/embed/captioned/", "https://www.instagram.com/p/5cBx4onOqY/embed/captioned/", "https://www.instagram.com/p/B2adYBehDj3/embed/captioned/", "https://www.instagram.com/p/B8JjKWdg_fi/embed/captioned/" ]	[]	[ "" ]	null	[ "Shantall Laracuente", "UPR Contributor" ]	2020-04-13T22:12:25-04:00	Even though Women’s History Month has passed, it’s important to remember some iconic women in Puerto Rican history. These women have made...	en	https://www.hercampus.co…e-touch-icon.png	Her Campus	https://www.hercampus.com/school/upr/badass-and-unapologetic-list-8-most-iconic-women-puerto-rican-herstory/	Mariana Bracetti (1825-1903) Patriot and leader of the Puerto Rican Independence Movement in the 1860’s, she’s better known as “Brazo de oro” (Golden Arm) for her involvement in the “Grito de Lares”, first and one of the most iconic revolts of the Independence movement in Puerto Rico against against Spain. She also sewed the Lares flag, the symbol for the potential Republic of Puerto Rico, but they were defeated. She was later imprisoned after the failed revolt with the other survivors. She gained her freedom under the General Decree of Amnesty of the new Spanish Republican Government in 1869. She went back to her hometown in Añasco where she died in poverty and was forgotten at the age of 78. She is now mostly remembered for sewing the flag, but she was much more than that. Bracetti had an important role to play in the revolution and she also helped those in need. Luisa Capetillo (1879-1922) She was a Puerto Rican anarchist and pioneer of feminism and syndicalism on the island. An intellectual, writer, journalist and labor leader. She was the first woman to wear pants out in public in 1919, causing a scandal that got her arrested and tried in court. Charges were dropped when she argued that it was her civil right to wear what she wanted. She spent her 30’s leading strikes in Puerto Rico, the US, and Cuba (they tried deporting her for it). She gained recognition for being an outspoken woman who fought for women’s equality and worker’s rights. Through her writing, she was also a strong advocate for anarchism and feminism. Her primary topics were free love, women’s rights, better wages and conditions for workers, and the class struggle in favor of libertarian socialism. Ana Roqué de Duprey (1853-1933) She was a writer, educator, suffragette leader, scientist, and one of the founders of the University of Puerto Rico. She was made an honorary member of the Paris Society of Astronomers. She became the youngest teacher’s assistant in Puerto Rico at the age of 11 and in her house, she founded her own school just two years later. In 1885, she earned a bachelor’s degree in Science and Philosophy. Nine years later, she founded La Mujer (1894), Puerto Rico’s first women-only magazine, and the first of many revolutionary publications she would launch during her lifetime, in addition to writing many books, articles, and essays. She’s considered a feminist pioneer on the island, where she founded the first feminist organization: the Puerto Rican Feminist League, in 1917 (she was the first president). Later on, it focused on women’s voting rights and its name changed to the Suffragist Social League in 1921. Roqué died two years before women gained the right to vote. Blanca Canales (1906-1996) Educator and a leader of the Puerto Rico Nationalist Party, she organized the feminine branch of the party under the group The Daughters of Freedom. In 1950, she led the members who participated in the “Grito de Jayuya”, in which the nationalists took control of the town for 3 days. The nationalists gave up on November 1st, 1950; Canales was accused and arrested for killing a police officer, as well as wounding three other people by setting the post office on fire. After a brief federal court hearing, she was sentenced to life plus an added 70-year sentence. In 1967, after 17 years in prison, she was pardoned by the governor Roberto Sánchez Vilella. She continued to be a strong advocate for independence and a defender of the rights of Puerto Ricans until the day she died. Adolfina Villanueva (1946 -1980) A black, poor woman, without a formal education and mother to six children. She was murdered on February 6th, 1980 by a police sergeant, while she was trying to defend her home in Loíza and stop the authorities from evicting her family. On numerous occasions, she had tried to fight the eviction by searching for legal help at the Office of Help for the Citizen at la Fortaleza, but she was not attended. On February 6th, she faced off against 5 bailiffs and 16 police officers who came to enforce an order of eviction. After they launched tear gas into the house to force the family out, Adolfina came out with a machete in hand and threw kerosene at the officers. Shots were fired almost instantly at the home and wounded her children and husband. The sergeant responsible for Adolfina’s death was absolved in court by the jury. No one responded or was found responsible for her death, for the attack against her family, nor for the damages against their personal effects by the demolition of the property just hours after her death. She was a strong woman who fought for what she believed in. She has become a symbol of the power and the courage of Puerto Rican women and of the struggle of women in poverty and women of color on the island. María de las Mercedes Barbudo (1773 -1849) The political activist had access to education because she was the daughter of a Spanish officer, to later dwell into social activism. Barbudo was the first Puerto Rican female “Independentista”, first woman to advocate for the independence of Puerto Rico. At the time, the Puerto Rican Independence Movement had ties to the Venezuelan rebel movement led by Simón Bolivar. She was inspired by Bolivar’s dream of liberating and creating a unified Latin America, which included Puerto Rico and Cuba. She wrote and befriended many Venezuelan revolutionaries like José María Rojas, whom she corresponded with. The Spanish Government on the island was suspicious of the correspondence she had with the Venezuelan revolutionary factions, and some letters she received were held by officials and sent to Governor Miguel de la Torre. He ordered her arrest under the charge of planning to overthrow the Spanish Government on the island and, since Puerto Rico didn’t have a women’s prison at the time, she was held at the Castillo San Cristobal without bail. She was sentenced to be exiled to Cuba, where she was held in an institution. She later escaped with the help of her friend José María Rojas to Venezuela. She was never married and had no children. She never returned to Puerto Rico and died in 1849 and is buried in the Cathedral of Caracas next to Simón Bolivar. Lola Rodríguez de Tió (1843-1924) A great Puerto Rican revolutionary, journalist and poet inspired by the freedom of her country. Lola Rodríguez de Tío wrote the lyrics for the patriotic anthem “La Borinqueña” during the insurrection of the “Grito de Lares” in 1868 and suffered persecution all her life for her firm opposition to the Spanish Regime. She was first exiled to Caracas, Venezuela and later to Cuba, but she had to leave, so she moved to New York. After the War for Independence, she came back to Cuba where she became an inspector of public schools. The phrase “Cuba y Puerto Rico, de un pájaro las dos alas” (“Cuba and Puerto Rico two wings from the same bird”) comes from her famous poetry book “My Book of Cuba”. Funny enough, this phrase is incorrectly attributed to the Cuban poet José Martí. She was also the first Puerto Rican-born woman poet to have a reputation as a great poet throughout Latin America. A firm believer in Women’s Rights, and also committed to the abolition of slavery. Isabel Freire de Matos (1915 – 2005) Writer, educator, and journalist, Freire de Matos was the author of various children’s books. She was an advocate for the independence movement during her years as a student at the University of Puerto Rico (UPR); Freire de Matos continued postgrad studies in the UPR and later moved to Paris, France for a year to study Comparative Literature at the Sorbonne. She founded the Eugenio María de Hostos College in 1954, which she directed for 25 years before retiring.
5858	dbpedia	3	36	https://www.mobt3ath.com/uplode/book/book-126819.pdf%3Fver%3Daccessable	en				[ "https://mobt3ath.com/whatsapp.png", "https://mobt3ath.com/img/whatsapp.png", "https://mobt3ath.com/img/logo.png", "https://mobt3ath.com/img/whatsapp.png", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-1.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-20.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-21.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-30.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-31.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-32.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-33.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-34.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-35.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-36.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-37.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-85.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-237.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-238.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-239.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-240.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-241.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-242.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-243.jpg", "https://www.mobt3ath.com/uplode/book/uplode/images/news/news-353.jpg", "https://www.mobt3ath.com/uplode/book/uplode/11.png", "https://www.mobt3ath.com/uplode/book/uplode/22.png?ggf" ]	[]	[]	[ "" ]	null	[]	null		ar	https://mobt3ath.com/favicon.ico		null
5858	dbpedia	3	37	https://ebin.pub/haitis-paper-war-post-independence-writing-civil-war-and-the-making-of-the-republic-18041954-9781479802166.html	en	Independence Writing, Civil War, and the Making of the Republic, 1804–1954 9781479802166	https://ebin.pub/img/hai…781479802166.jpg	https://ebin.pub/img/hai…781479802166.jpg	[ "https://ebin.pub/ebinpub/assets/img/ebinpub_logo.png", "https://ebin.pub/img/200x200/spanish-republic-and-the-civil-war-1931-1939-9781400820184-1400820189.jpg", "https://ebin.pub/img/200x200/the-republic-besieged-civil-war-in-spain-1936-1939-9781474471763.jpg", "https://ebin.pub/img/200x200/shakespeare-and-the-fall-of-the-roman-republic-selfhood-stoicism-and-civil-war-9781474427470.jpg", "https://ebin.pub/img/200x200/a-history-of-the-republic-of-biafra-law-crime-and-the-nigerian-civil-war-9781108887748.jpg", "https://ebin.pub/img/200x200/the-civil-war-9781442653184.jpg", "https://ebin.pub/img/200x200/the-civil-war-9781598532616.jpg", "https://ebin.pub/img/200x200/mosaic-fictions-writing-identity-in-the-spanish-civil-war-9781487513146.jpg", "https://ebin.pub/img/200x200/a-noble-ruin-mark-antony-civil-war-and-the-collapse-of-the-roman-republic-019769490x-9780197694909-x-1370059.jpg", "https://ebin.pub/img/200x200/mosaic-fictions-writing-identity-in-the-spanish-civil-war-9781487513146-x-6352619.jpg", "https://ebin.pub/img/200x200/the-collapse-of-the-spanish-republic-1933-1936-origins-of-the-civil-war-9780300130805.jpg", "https://ebin.pub/img/200x200/haitis-paper-war-post-independence-writing-civil-war-and-the-making-of-the-republic-18041954-9781479802166.jpg", "https://ebin.pub/ebinpub/assets/img/ebinpub_logo.png" ]	[]	[]	[ "" ]	null	[]	null	Turns to the written record to re-examine the building blocks of a nationPicking up where most historians conclude, Ch...	en	https://ebin.pub/ebinpub…e-icon-57x57.png	ebin.pub	https://ebin.pub/haitis-paper-war-post-independence-writing-civil-war-and-the-making-of-the-republic-18041954-9781479802166.html	Citation preview Haiti’s Paper War A M E RI C A A N D T H E L ON G 19 t h C E N T U RY General Editors: David Kazanjian, Elizabeth McHenry, and Priscilla Wald Black Frankenstein: The Making of an American Metaphor Elizabeth Young Neither Fugitive nor Free: Atlantic Slavery, Freedom Suits, and the Legal Culture of Travel Edlie L. Wong Tomorrow’s Parties: Sex and the Untimely in Nineteenth-Century America Peter M. Coviello Bonds of Citizenship: Law and the Labors of Emancipation Hoang Gia Phan Shadowing the White Man’s Burden: U.S. Imperialism and the Problem of the Color Line Gretchen Murphy The Traumatic Colonel: The Founding Fathers, Slavery, and the Phantasmatic Aaron Burr Michael J. Drexler and Ed White Bodies of Reform: The Rhetoric of Character in Gilded-Age America James B. Salazar Unsettled States: Nineteenth-Century American Literary Studies Edited by Dana Luciano and Ivy G. Wilson Empire’s Proxy: American Literature and U.S. Imperialism in the Philippines Sitting in Darkness: Mark Twain’s Asia Meg Wesling and Comparative Racialization Hsuan L. Hsu Sites Unseen: Architecture, Race, and American Literature William A. Gleason Racial Innocence: Performing American Childhood from Slavery to Civil Rights Robin Bernstein Picture Freedom: Remaking Black Visuality in the Early Nineteenth Century Jasmine Nichole Cobb Stella Émeric Bergeaud American Arabesque: Arabs and Islam Translated by Lesley Curtis and in the Nineteenth Century Imaginary Christen Mucher Jacob Rama Berman Racial Reconstruction: Black Inclusion, Racial Indigestion: Eating Bodies in the Chinese Exclusion, and the Fictions of Citizenship Nineteenth Century Edlie L. Wong Kyla Wazana Tompkins Idle Threats: Men and the Limits of Productivity in Nineteenth-Century America Andrew Lyndon Knighton Ethnology and Empire: Languages, Literature, and the Making of the North American Borderlands Robert Lawrence Gunn The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution Jeremy Matthew Glick Undisciplined: Science, Ethnography, and Personhood in the Americas, 1830–1940 Nihad M. Farooq The Latino Nineteenth Century Edited by Rodrigo Lazo and Jesse Alemán Fugitive Science: Empiricism and Freedom in Early African American Culture Britt Rusert Before Chicano: Citizenship and the Making of Mexican American Manhood, 1848–1959 Alberto Varon Emergent Worlds: Alternative States in Nineteenth-Century American Culture Edward Sugden Haiti’s Paper War: Post-Independence Writing, Civil War, and the Making of the Republic, 1804–1954 Chelsea Stieber Haiti’s Paper War Post-Independence Writing, Civil War, and the Making of the Republic, 1804–1954 Chelsea Stieber NEW YORK UNIVERSIT Y PRESS New York NEW YORK UNIVERSIT Y PRESS New York www.nyupress.org © 2020 by New York University All rights reserved A portion of chapter 4 previously appeared in Chelsea Stieber, “The Myths of the Haitian Republic.” In Remembering Early-Modern Revolutions, ed. Edward Vallance. London: Routledge, 2018. Portions of chapter 7 previously appeared in Chelsea Stieber, “‘Camelots du roi ou rouges’: Radicalism in Early Twentieth-Century Haitian Periodicals.” Contemporary French Civilization 45, no. 1 (2020): 47–69; and “The Northern Récit Paysan: Regional Variations of the Modern Peasant Novel in Haiti.” French Studies 70, no. 1 (2016): 44–60. All are used with permission. References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. Library of Congress Cataloging-in-Publication Data Names: Stieber, Chelsea, author. Title: Haiti’s paper war : post-Independence writing, civil war, and the making of the republic, 1804–1954 / Chelsea Stieber. Description: New York : New York University Press, [2020] \| Series: America and the long 19th century \| Includes bibliographical references and index. Identifiers: LCCN 2019041463 \| ISBN 9781479802135 (cloth) \| ISBN 9781479802159 (paperback) \| ISBN 9781479802166 (ebook) \| ISBN 9781479802173 (ebook) Subjects: LCSH: Haitian literature—19th century—History and criticism. \| Radicalism in literature. \| Blacks—Haiti—Intellectual life—19th century. \| Haiti—Intellectual life—19th century. \| Haiti—Politics and government—1804– Classification: LCC PQ3948.5.H2 S75 2020 \| DDC 840.9/97294—dc23 LC record available at https://lccn.loc.gov/2019041463 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books. Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Also available as an ebook In memory of Michael Dash And for Stella, his light. Contents Note on Translation xi Introduction 1 1. Dessalines’s Empire of Liberty 21 2. Civil War, Guerre de Plume 60 3. Southern Republic of Letters 91 4. The Myth of the Universal Haitian Republic, or Deux Nations dans la Nation 128 5. The Second Empire of Haiti and the Exiled Republic 163 6. Nationals and Liberals, 1904/1906 201 7. Haiti’s National Revolution 227 Epilogue 255 Acknowledgments 261 Notes 265 Bibliography 327 Index 347 About the Author 367 Note on Translation In the interest of making these Haitian texts available to the widest audience, I have chosen to present them in translation here. Translations are my own unless otherwise indicated. Given the importance of language, especially in early post-independence Dessalinean writing, I have included the original text in an endnote. In some cases, where I have determined that a term, phrase, sentence, or full passage is noteworthy (either for its originality, its nuance, or its intertextuality), I have included the original in the body of the text alongside the translation. My hope is that this method, though it may distract some, will allow for substantive engagement with the original materials by both Anglophone and Francophone readers. xi Introduction This book begins where so many others conclude: 1804. On January 1, 1804, Jean-Jacques Dessalines, general of the Armée Indigène, proclaimed the independent state of Haiti, marking the triumphant end to thirteen years of revolutionary fighting and over three centuries of colonial rule. The year 1804 also marked the end of the redemptive possibilities of a utopian revolution and the beginning of the fraught project of postcolonial, antislavery statehood.1 Recent scholarship has begun to explore the challenges that Atlantic world powers posed to Haitian sovereignty and legitimacy during the Age of Revolution,2 but there existed an equally important internal challenge to Haiti’s post-independence sovereignty: a civil war between those who envisioned an anticolonial, antislavery empire and those who wished to establish a liberal republic. Yet this post-1804 context of empire and civil war remains shrouded, silenced in North Atlantic scholarship on Haiti in part because of what we desire 1804 to be: a radical, liberal, universal revolution.3 The authoritarian nature of the post-1804 state troubles that narrative from its very first moments, acts, words, and texts. I argue that this civil war context is central to understanding Haiti’s long postcolonial nineteenth century: the foundational political, intellectual, and regional tensions that constitute Haiti’s fundamental plurality.4 Considerable work has been dedicated to unearthing the uneven and unequal production of historical narratives about Haiti in the wake of Michel-Rolph Trouillot’s groundbreaking Silencing the Past, but many more narratives—namely, those produced from within Haitian historiography and literary history—remain to be questioned and deconstructed. In this book, I unearth and continually probe the conceptually generative possibilities of Haiti’s postrevolutionary divisions, something the current historiographic framework on Haiti’s long postcolonial nineteenth century fails to fully apprehend. Through close readings of original print sources (pamphlets, newspapers, literary magazines, ge1 2 \| Introduction ographies, histories, poems, and novels), I shed light on the internal realities, tensions, and pluralities that shaped the aftermath of the Haitian Revolution to reveal the process of contestation, mutual definition, and continual (re)inscription of Haiti’s meaning throughout its long nineteenth century. *** We need only consider the persistent slippage in North Atlantic scholarship between 1804 and 1806, between the foundation of an anticolonial, antislavery state and the foundation of a republic, to see the need for such a study. Historians regularly mislabel 1804 as a republican revolution when in fact it ushered in a postcolonial state, then empire.5 Not only that: the secretaries and military leaders behind the textual performance of Haitian independence in the nation’s foundational documents did their best to avoid referring to the events of 1804 as a “revolution” altogether. It was the 1806 assassination of Jean-Jacques Dessalines and overthrow of his empire, orchestrated by a faction of pro-republican military leaders, that cast itself as the true republican revolution. A similar clarification is in order for Haiti’s label as the “first black republic”: the problematic part of this formulation is not “first black,” but “republic.” Haiti was incontestably the first independent anticolonial black state in the hemisphere, but it was also a self-proclaimed empire. Civil war between republicans and Christophean monarchists divided the independent nation from 1807 to 1820, until Haiti finally unified under a republican form of government. Even then, the republic was far from inevitable: for nearly a century it remained embroiled in civil war, secessionist regimes, and the threat—and briefly, reality—of a return to empire. To begin to make sense of the unrelenting obscurity in the naming and meaning of one of the decisive world historical events of Western modernity, we must start at the beginning of the postcolonial state: its civil war, ideological inscriptions, and partisan narrative constructions that were ultimately emplotted into the myth of the inevitable republic after 1820. My exploration of the discursive “making” of the Haitian Republic and its myth(s)—the stories that get told about it and the beliefs that result from them—is in no way intended to dim the project of Haitian independence and the very real material, political, and embodied Introduction \| 3 transformations that the Haitian Revolution brought about. Instead, I take aim at the received notions and teleological narratives that lead us to confound the republicanism of 1806 with the radical anticolonial gesture of 1804, which belonged to a different set of political beliefs. That is: North Atlantic scholars’ conflation of 1804 and 1806 is not a repeated slip-up, but the result of a blind spot created by the myth of the inevitable republic. The problem of 1804/1806, of empire/republic, reveals something profound about the way scholars read, write, and ultimately (mis)understand Haitian history: a failure to account for the foundational tensions at work in the postrevolutionary civil war and their reverberations throughout Haiti’s long nineteenth century. I begin this work by disentangling the multiple meanings of liberté in contestation—and mutual constitution—at work in Haiti’s postindependence civil wars between the nation’s foundational, oppositional ideological factions: republicans and Dessalineans. Through a close reading of the print production of each, I reveal two very different conceptions of Haiti’s place within the progressive universalist claims of the Enlightenment—conceptions in tension that shaped the politics and writing of Haiti’s long nineteenth century. Writing and, indeed, the very meaning of literature were central to the political contests that unfolded between these two factions. Literature and literariness were concepts self-consciously and politically deployed—and resisted—in the guerre de plume, or paper war,6 in post-independence Haiti. Paper itself became the battleground upon which the civil war was waged. While this book destabilizes the monolithic or homogeneous idea of Haiti through a long-view immersion in its archive, the discoveries I unlock in the process have consequences for a much wider set of fields, including Francophone and world literary studies, studies of the postcolonial Global South, and black radical studies. My reading of post-independence Haitian writing reveals key insights into the nature of literature, its relation to freedom and politics, and how fraught and politically loaded the concepts of “literature” and “civilization” really are. The competing ideas of liberté, writing, and civilization at work in postcolonial Haiti have consequences for the way we think about Haiti’s role—as an idea and a discursive interlocutor—in the elaboration of black radicalism and black Atlantic, anticolonial, and decolonial thought. For what could be more transparent than the idea of liberty in 4 \| Introduction the context of the Haitian Revolution? Yet once we look past the idea of Haiti and embrace its plurality, we begin to grasp the plurality of the seemingly monolithic, self-evident concept of liberté. The Many Meanings of Liberty: Dessalinean Critique of Western Episteme In early post-independence Haitian writing, we see two drastically different versions of postcolonial statehood vying for hegemony: possible futures for an abolitionist black state that differed precisely according to their conceptions of liberté. To be sure, the leading political factions of the period—Dessalineans and republicans—agreed that liberté meant freedom from chattel slavery. They nevertheless differed on the meaning of liberté as it related to rights, especially individual rights, and on the best political program for the future postcolonial state. Did liberté mean independence from colonial rule, or did it mean freedom from arbitrary government and the guarantee of individual rights? What differed— indeed, what was fundamentally at odds between the two—were the intellectual and philosophical bases upon which this conception of liberté was constructed and performed. In many ways they were mutually exclusive, constituted in dialogic opposition in the civil war and guerre de plume in the first two decades of independence (1804–1820). These very different conceptions of liberté were crucial to each faction’s self-imagining and self-representation within Haiti and the wider revolutionary Atlantic. Republicans wanted liberté to encompass the meaning associated with political liberalism and Enlightenment universalism. Liberté meant individual rights, political equality, and the active contestation of any arbitrary government (though it often fell short of these ideals in practice). Haitian republicans embraced the revolutionary language of France’s short-lived First Republic, and saw an opportunity to make independent Haiti into the last remaining site of liberal republicanism after it faltered in France. For republicans, humanity—universal equality—was guaranteed by the philosophy of Enlightenment liberalism taken to its most radical, egalitarian conclusion. Conversely, Dessalineans meant liberté primarily as independence from colonial rule and not as a guarantee of individual rights, Introduction \| 5 very much akin to the liberté générale maintained by Toussaint Louverture.7 Dessalines’s state-turned-empire placed anticolonial independence above all else, such that individual liberties had to be sacrificed to the greater cause of sovereign statehood. Dessalineans flexed their radical anticolonialism and actively worked to put that political agenda out into the Atlantic world. Thus, theirs was an antiliberal liberté, in the sense that they directly questioned the utility of political liberalism in their fledgling anticolonial, antislavery state and challenged the putative universalism of the Enlightenment. For Dessalineans, humanity was guaranteed through their own act of self-liberation, wresting it from those who purported to grant it by defining it through their own words, acts, and terms. By insisting on these internal tensions at work in Haiti’s early postindependence intellectual and political project, I aim to add further complexity and precision to the vital question of Haiti’s Enlightenment critique.8 In her superb conception of Black Atlantic humanism, Marlene Daut theorizes a Haitian intellectual project that worked to “disrupt the Enlightenment philosophies that undergirded colonial slavery and colonial racism” by countering the European discourses of black dehumanization that underwrote slavery.9 She casts Haitian independence and the foundational texts that narrated it as a radical assertion of black humanity and a critique of the systems of oppression that underwrote Enlightenment humanism. Crucially, however, I argue that this radical critique was achieved by a faction of Haitian post-independence writers and thinkers—Dessalineans—who elaborated it as much in opposition to the republican faction within Haiti as to the larger Atlantic world. I am insisting that we see a more complex and complicated picture of factionalism and intellectual formation in tension: between a republican faction that performed itself as the purest and most radical instantiation of Enlightenment humanism (colorblind, antislavery, pro-equality) in the Western Hemisphere, and a Dessalinean faction whose members critiqued Enlightenment universalism because they saw it as fundamentally flawed. By foregrounding these internal tensions, I reveal civil war factionalism as generative for the Dessalinean critique of the Western tradition, and of the republican performance of its purest instantiation. That is: the black humanistic tradition that Daut defines was born out of these two strands 6 \| Introduction of Haitian thought—the critique of Western Enlightenment liberalism and the embrace of its most radical possibilities—that were mutually constituted in opposition. What is more, these tensions around Enlightenment thought (the meaning of humanity, civilization, liberty) produced conversation and conflict throughout Haiti’s long nineteenth century, with various intellectual and political factions continuing to evoke, repurpose, and deploy them within a larger set of Atlantic connections. In many ways, my book traces the long postrevolutionary history of what Lyonel Trouillot has termed the “modèle Dessalines”: the continual return by various political regimes and intellectual projects to the radical heritage of Dessalinean critique cut short in 1806.10 My book’s emphasis on the specifically Dessalinean contours of Haiti’s Enlightenment critique has important consequences for the study of black radical political and intellectual thought.11 If, as Anthony Bogues has argued, black radical thought serves as a “counterpoint” to the “progressive universalist claims” of modernity, Dessalinean thought goes a step further.12 As Grégory Pierrot has recently argued, Dessalinean political thought was “a bold attempt at lighting a beacon beyond the confines of white Western thoughts.”13 Dessalinean thought challenged— critiqued—the progressive universalist claims of the Enlightenment in real time, as they were being put into practice in the revolutionary Atlantic. Dessalinean thought instantiated an anticolonial, antislavery state and a people that challenged the Enlightenment’s putatively universal self-framing by positing—and living—alternative epistemologies and ontologies. We find a critical, negative idea of French republican liberty at work in the Dessalinean 1804 Acte de l’indépendance. We see a similar critique of Enlightenment universalism in Article 14 of Dessalines’s 1805 imperial constitution, which proclaimed all Haitians under the general denomination “Noirs.”14 Sibylle Fischer has argued that Article 14 “both asserts egalitarian and universalist intuitions and puts them to a test.”15 By insisting on color, Dessalines’s imperial constitution rejected the notion of color-blind republicanism born, at least in part, out of the fight for equality among lettered, propertied free men of color in Saint-Domingue. We might go further still: Dessalines’s imperial constitution recognized the limits—perhaps even the trap—of Enlightenment universalism for black, unlettered, and unpropertied men in the Atlantic world. This critique was not limited to Dessalines’s short-lived gov- Introduction \| 7 ernment, but found purchase under those who took up his ideological mantle. This book thus unearths the obscured intellectual tradition that troubles republicanism and the putative universalism of Enlightenment liberalism throughout Haiti’s long nineteenth century. Dessalineans founded an anticolonial, antislavery state, and then an empire, all the while resisting the only other viable anticolonial state formation in the hemisphere: the republic. It nevertheless bears repeating: Dessalineans challenged and resisted Enlightenment universalism not because they were “premodern,” “uncivilized,” or any other teleological term that has been retroactively applied to the imperial state and its aberrance within the liberal order. Dessalineans challenged and critiqued the liberal bourgeois order—political liberalism, republicanism, and Enlightenment humanism—because of its basis in chattel slavery. It was always already flawed: its exclusionary conception of white, European normativity placed clear limits on a black polity. Dessalineans initiated—and embodied—what Anthony Bogues calls the “heresy” of the black radical intellectual: “becoming human” by “overturning white/ European normativity.”16 Following both Daut’s powerful notion of a genealogy of Black Atlantic humanism and Deborah Jenson’s presentation of “Dessalines’s documents” as a “dialogic foundation in a longer chain of radical African diasporan thinkers,” the archive of Dessalinean counterhegemonic texts offers one—though certainly not singular— discursive origin point of radical black thought.17 The textual and discursive practices of vindication and refutation, key aspects of black radical writing, are already instantiated in Dessalinean writing, as we shall see in this book.18 The spirit of Dessalinean critique of Western episteme translated and traveled to contexts outside Haiti, as we can see in the form, style, and rhetoric of many radical black thinkers.19 By placing Dessalinean thought within the context of black radical thought, I aim to clarify the notion that early Haitian intellectual thought “anticipates” or should be seen as “prophetic” of the postmodern condition.20 Dessalinean thought and political action constituted a radical critique that revealed the abstractions upon which Enlightenment thought relied, and how these abstractions denied the forms of oppression the project itself depended upon.21 As a scholar firmly ensconced in a system of valuation and legibility dictated by Western episteme, I have often found myself reaching for Derrida or Butler as a 8 \| Introduction useful shorthand (and a “valuable,” legible one in the Western academy) to index a praxis and a political project that Haitian writers had already established.22 Dessalinean thought unmasked, deconstructed, and decentered the Western tradition in formation at the turn of the nineteenth century. Indeed, I would argue that this is why the idea of Haiti is so useful and its revolution such a central event for artistic reimagining in black radical thought: as a subject, it carries with it the full weight of its Enlightenment critique. Haiti’s very existence questioned Western episteme: the first Haitian words, the first Haitian acts pointed out the system’s fundamental structural flaws. From the very beginning, Haiti resisted organizing itself according to Western principles.23 Perversely, it is for these same reasons that Haiti is also a near-obsession for nativists and white supremacists throughout the world who instrumentalize Haiti’s “failed state” status as proof of the impossibility of a nonwhite, non-Western black state.24 It is also because of its challenge to Western episteme that radical Dessalinean thought was rendered “unthinkable” in Haitian national history, internally by those Haitians committed to casting the nation within the dominant Western norms of civilization and humanism, and externally by those foreign powers whose own systems of oppression depended upon silencing Haiti’s radical critique of the West. As Bogues argues, black radical intellectual production is unthinkable only insofar as it challenges “the epistemic limits established by the Western intellectual tradition.”25 In the case of the revolution, scholars have overlooked or been unable to assimilate Dessalinean critique precisely because of the extent to which it challenges and refuses Western political modernity.26 In contrast, republicans did not fundamentally change the terms of the debate set out by Enlightenment universalism—they did not refute Western episteme, but rather sought to perform their revolution within the hegemonic terms of Western Enlightenment: individual reason, autonomy, civilization, perfectibility. Thus, the republican elements are “seeable,” thinkable, and able to be recuperated within a Western paradigm. In these terms, we see why scholars and histories have privileged the republican faction, pushing the Dessalinean faction to the margins of history. Dessalineans questioned the terms of the debate set out by Enlightenment universalism, and insisted on a system of thought that could hold both their fundamental blackness and their Introduction \| 9 fundamental humanity. This set them upon a different path, working to subvert and deconstruct the dominant Western paradigm with the creation of a black antislavery empire. There is also a logic in this choice of state formation: to serve a majority-illiterate population of former slaves, recalling the traditions of African kingdoms and performative, symbolic public power made a lot of sense.27 The choice made more sense, in many ways, than republicanism, which by 1804 was an embattled ideology in the Atlantic world and would remain so for much of the nineteenth century. But once we recognize and move beyond the limiting, silencing domain of the Western tradition, Haiti’s long nineteenthcentury heritage of Dessalinean critique becomes legible once more. As we shall see in this book, Haitian writers like Emile Nau defined Haitians’ humanity and civilization not by their ability to measure up to Atlantic standards, but by their act of resistance—of reclaiming their human rights through violence against an inherently violent world system. Louis Joseph Janvier returned to Dessalinean critiques to point out the forms of oppression that were always at work in putatively liberal systems, and to define an idea of Haitian civilization that was forged in concert with, in opposition to, and as a constant challenge to the ideals of Enlightenment liberalism. The stakes of what I’m proposing here are high. Let me address them head-on by returning to scholars’ “desire” to see Haiti as a utopian or redemptive republic that I mentioned in my opening gambit. What does it mean to assert that a faction—perhaps a majority—of Haitian intellectual and political thought engages in an antiliberal critique of the Enlightenment? What difficult, thorny questions does this bring up for our own investment in the universal Enlightenment and in Western political modernity? What does it mean to give full due to the discomfiting realities of violent antislavery anticolonialism in Dessalines’s independence, which privileged an imperial government that assured freedom from chattel slavery but eschewed any sense of individual rights? In my work, this has meant confronting the specter of anti-Enlightenment integral nationalism and fascism within Haiti. It raises with it the very real histories of Haitian intellectuals’ alignment with the anti-Enlightenment thought that gained prominence in the late nineteenth and early twentieth centuries in Europe (especially in Francophone spheres of influence), and ultimately, the Duvalier dictatorship, which co-opted the long 10 \| Introduction heritage of Dessalinean critique of Western episteme into the service of a fascist, anti-Enlightenment political regime. Here, I am offering an alternative to what Robert Fatton has labeled Haiti’s “authoritarian habitus” to explain the roots of the Duvalier dictatorship in Haiti.28 In my analysis, there is something much more complex, and indeed tragic, at work in Haiti’s 150 years of political and intellectual history. The tragedy, it seems to me, is how Duvalier co-opted and converted Haiti’s radical Enlightenment critique in the service of his fascist dictatorship. Duvalier marshalled the pathbreaking, radical, brilliant critiques of racism and systems of oppression instantiated in Haiti’s anticolonial independence, and used them to systematically oppress, terrorize, and dehumanize his own people for a generation. Beyond the Bourgeois Public Sphere The concept of “literature” is equally bound up in the transformations of the eighteenth and early nineteenth centuries that shaped Haiti’s divergent meanings of liberté. Once we evoke the radical critique of Enlightenment liberalism, we can no longer assume the category of “literature” itself to be static or politically neutral. Raymond Williams has long cautioned us against taking “literature” naïvely at face value. In his woefully underutilized socio-historicization of the concept, Williams reminds us that literature is a “specific sociohistorical development of writing,” a process of development that engages “a powerful and often forbidding system of abstraction, in which the concept of ‘literature’ becomes actively ideological.”29 Prior to the Enlightenment era, the term literature simply denoted “a condition of reading: of being able to read and of having read.”30 During the eighteenth century the concept of “literature” developed from its previous, broader meaning of “literacy,” toward the more specialized—and exclusive—notion of “‘creative’ or ‘imaginative’ works” of quality that were distinct from utilitarian or nonimaginative writing.31 The concept of “criticism” emerged alongside this modern form of “literature” to mean “the conscious exercise of ‘taste,’ ‘sensibility,’ and ‘discrimination.’”32 Writers and actors at the time were making these distinctions and engaging with the emergent concepts of literature and criticism. When we disentangle our contemporary definitions and valuations of the Introduction \| 11 concept of literature and actually historicize it, we see how invested it is in the transformations of the period and the political work it does as a category. My reflection here builds on recent scholarship that directly addresses this question of literature and authorship in early Haitian writing, particularly Chris Bongie’s vital critique of Francophone postcolonial literary criticism.33 Yet where previous scholars have endeavored to recuperate early Haitian writing as literary, my work makes no such claims.34 Instead, I prefer to point out the problem with this kind of “question” in the first place, which is bound up in the practice of literary criticism and the bourgeois public sphere.35 Put otherwise, if cultural studies theory has come to terms with the limits and possibilities of Jürgen Habermas’s bourgeois conception of the public sphere, the notion of an all-encompassing rational, “modern,” yet narrowly defined bourgeois public sphere nevertheless remains unchecked and unmarked in our literary critical praxis. Let me first rehearse briefly Habermas’s arguments about the structural transformations of the public sphere and bourgeois society before engaging some recent debates in world literature and hermeneutics that reveal the limits of the Habermasian modern literary paradigm.36 Habermas establishes the putative rupture between “premodern” (pre-Enlightenment) and “modern” (post-eighteenth-century) practices of textual production and consumption. The Enlightenment-era emergence of a bourgeois public sphere broke with what he deemed the “monarchical” and “feudal” (but also religious) practices of textual production and hermeneutics based in performance, memorization, recitation, symbolic representation, and the mystique of authority.37 The emergence of a literary public sphere, based in individual reason, judgment, critical reflection, and debate between private citizens, made possible the emergence of a political public sphere. Habermas’s autonomous subject exercised private reason, critique, and judgment with other such private individuals to make meaning and create a shared opinion, which led to the self-reflection of an individual’s role in society and the emergence of rationally constituted public opinion that challenged the authority of the state. Critical interrogations of Habermas’s concept of the public sphere have long insisted on the exclusions of this white, male, propertied sphere as well as the myth of its singularity.38 Despite the nonbourgeois 12 \| Introduction “alternative” counterpublics that various post-Habermasian critics have highlighted, few, if any, have attended to counterpublics that reject the liberal, putatively modern practices of textual production and hermeneutics that Habermas establishes as dominant.39 Here, we can look to some recent critical engagements with world literature and hermeneutics questioning this narrow conceptualization of reading and writing practices that obscures many other uses of texts.40 Specialists in nonWestern literatures reveal the degree to which “literature” as concept is never neutral, casting in its shadow “textual forms and modes of experience no longer thinkable in a modern literary paradigm.”41 From this perspective, what Pascale Casanova has identified as the “world republic of letters” begins to look quite reductive for its privileging of a bourgeois, liberal conception of secular, autonomous, reasoned critical reading practices to the exclusion of many other kinds of texts and readings. If indeed the practice of literary criticism and bourgeois liberal modernity are mutually constitutive, then these scholars’ call for alternative hermeneutics is especially urgent. Put in these terms, we begin to see the problem of applying Williams’s “abstract retrospective concept” of literature, devoid of its context or its ideological content, to early post-independence Haitian writing that emerged precisely during the period in which literature, liberalism, and even liberty itself were highly contested and debated terms within postindependence Haiti. Building on these post-Habermasian critiques, I am interested here in the way that a faction of Haiti’s print sphere was elaborated precisely in critique and refusal of the bourgeois literary public sphere and its “modern” praxis of textual production and hermeneutics. That is, I am working against the notion of some Habermasian rupture that accompanied Haiti’s revolution in the practice and politics of writing (from a putatively “premodern” symbolic or performative writing to a putatively “modern,” rational, liberal, autonomous notion of textual creation and hermeneutics). Quite the opposite: these conceptions and uses of writing remained hotly contested in both civil war and paper war between a republican, bourgeois faction (which touted individual reason, private subjectivity, and communicative rationality) and a monarchical state that relied upon symbolic representation, public performance, collective textual production, and the mystique of authority to define its political project within Haiti and the larger Atlantic sphere. Introduction \| 13 Let us see the bourgeois public sphere and its limits at work in early post-independence Haitian writing. In colonial Saint-Domingue, free men of color enjoyed some access to the emergent spaces of private deliberation and critical discourse in the early part of the eighteenth century, and then were excluded as the colonial state worked to create a unified white colonial public in the 1760s and 1770s.42 It was precisely because of these race-based exclusionary tactics that free men of color in the colony led the fight for equality during the early years of the French Revolution. In many ways, they constituted the Habermasian bourgeois public sphere in the colony par excellence: they engaged in reasoned, critical debate of the colonial state and its exclusionary policies, and were foundational to the emergence of public opinion for the equality of men of color as citizens of the republic. As we shall see in this book, post-independence Haitian republican writing constituted itself very much in the heritage of this bourgeois public sphere, writing within a nascent Francophone lettered sphere and performing the fruits of liberal republicanism to a wider Atlantic audience. While this Habermasian bourgeois public sphere continued among a certain political faction in early post-independence Haiti, it was not the only sphere to emerge during the period. There was a sphere of writing, print, and critique that emerged in early post-independence Haiti that was highly critical of political liberalism and the bourgeois liberal order. We might call this the “Dessalinean sphere,” which dominated late-revolutionary Haiti and the first years of independence. Dessalinean and later Christophean writing was first and foremost a weapon of antislavery, anticolonial resistance. It was writing based on utility and defense: the performance of violent anticolonialism or the refutation of pro-colonial discourse from France through the publication of written texts. The print production in this sphere was decidedly antiliberal and antibourgeois: it was not the private, autonomous, liberal bourgeois reason that existed apart from the state, but a collective, collaborative textual production from a militarized secretarial corps that swore an oath to defend the monarchy. Indeed, the Dessalinean sphere embraced—and performed—many of the practices that Habermas considered “premodern”: public symbolic representation, the mystique of power, memorization and recitation, all in service of the state. Crucially, Dessalinean textual production and consumption encompassed decidedly more 14 \| Introduction Haitian voices outside the narrow, property-owning, literate, educated sphere of the republicans. As we shall see in this book, Dessalinean and Christophean spheres insisted on the public practice of textual creation and performance and gave voice to those who otherwise lacked the “right” or the ability to enter into print: insurgent slaves, illiterate or uneducated free men of color, and even the dead. Having demonstrated the overdetermined, abstract retrospective concept of “literature,” I would like to describe my approach to generic, formal, and discursive structures that coded the Dessalinean and later Christophean sphere—beyond the bourgeois public sphere. I am basing my approach on a few basic assumptions. First, I assume that the process of writing is always citational and intertextual; it draws upon already existing language and structures in a process of citation and iteration that is never new. I thereby distance my approach from the either/or proposition of radical newness or colonial borrowing, derivativeness or “imitation” (which are bound up in anachronistic judgments of value that have much less to do with the textual production of the period itself) and move toward a more thorough accounting of the norms, practices, and mechanisms of print culture in early post-independence Haiti. Second, I approach published writing (that is, writing that actively sought a public) as determined by a set of implicit and sometimes explicit codes, language, syntax, and forms that determine a text’s legibility and meaning in a given time.43 This involves a considerable amount of modeling, adapting, and (re)iterating existing genres, forms, and language.44 What is more, the Haitian writing of independence was produced literally on the ground, often in the fog of war, by men (alas, no women!) with varying degrees of French-language schooling and in an entirely multilingual context: French, Kreyòl, which was the lingua franca, and Niger-Congo languages among the insurgent slaves. Dessalines’s 1804 Acte de l’indépendance provides a prime example of these codes and structures. While the radical, anticolonial gesture of 1804 was performed by other means and in other mediums (the symbolic naming of “Ayti,” the burning of plantations, and the massacre of the remaining French colons on the island), Haitians nevertheless instantiated their radical newness in the French language, in the textual act of a declaration of independence. They wrote in French to render legible— and legitimate—their radical claims to statehood and independence in Introduction \| 15 an Atlantic public sphere hell-bent on not recognizing those claims. It is both radically new and entirely the same, through a process of modeling, adaptation, and iteration. Finally, my approach to early post-independence writing emphasizes the performativity at work in the production of text, and more specifically the performative speech acts by which formerly colonial subjects and the enslaved seized the means to (re)define themselves as human, independent, postcolonial, black writing and publishing subjects.45 I understand this form of performativity in early post-independence Haitian writing as related to a specific generic form: printed polemics, or pamphlets. The form and practice of polemical pamphleteering are central to questions of legitimacy, subjectivity, authority, authorship, and authorization; pamphlets were consecratory speech acts that created space for legitimatizing speech that was not otherwise “legally” granted to them. As Katie LaPorta’s research on early modern anti-absolutist pamphlets shows, writers contested authority and staked a claim to the public sphere even as they lacked the “right” to do so, and deployed the written word against established power in order to forge new subjectivities and construct new publics.46 Thus the notion of performativity we see theorized in Derrida’s “performative speech acts” and Butler’s “political performativity” is, as LaPorta points out, endogenous to the early modern sphere of political pamphleteering—despite the fact that we assume it to be a contemporary theoretical term.47 I would argue that we can trace Dessalinean and Christophean performative pamphleteering, as well as Faustin Soulouque’s later use of portraiture, to a longer tradition of reformist and anti-absolutist pamphlet writing of the early modern period. Indeed, we must consider their claims to sovereignty, legitimacy, and humanity via the pamphlet form as part of a longer early modern context of challenging absolutist and statist discourses and claiming authority and subjectivity. In the spirit of sixteenth-century Protestant Monarchomach pamphlets, seventeenthcentury anti-absolutist “bad books” (mauvais livres), and eighteenthcentury pasquinades and libelles, Dessalinean and Christophean writing challenged the legitimacy of colonialist and pro-slavery discourses by performing its own authority in print. What is more, its activation of this polemical form repairs—and renders moot—Habermas’s putative rupture between “premodern” and “modern” writing. To be sure, I con- 16 \| Introduction sider performativity across the civil war divide, and reveal the extent to which bourgeois liberal texts in Haiti’s southern republic were themselves performing a political project to an Atlantic world audience. Their new literary and political journals (revues) were performing their own political liberalism, individual reason, and private and autonomous subjectivity in opposition to what they deemed the premodern, politically complicit texts of Dessalinean and Christophean monarchism. Civil War and the Myth(s) of the Republic My interest in the myth of Haitian republicanism is grounded in deeper reflections on the French republican myth and its paradoxes.48 I have found Jean-Clément Martin’s historiographic method in his work on revolution and counterrevolution in France of particular use. Martin works against the teleology of republicanism, or “against historiographic memory,” by focusing on the internal tensions and specifically the “semantic struggles” of different factions vying for discursive hegemony in the revolutionary period. Ultimately, Martin argues that revolution and counterrevolution must be considered mutually constitutive: fed by their “shared source” and exacerbated by their rivalry against one another, they participated in the cultural and political process that created the nation.49 David Armitage’s recent shift in thinking about civil war in the Age of Revolution offers additional clarity on new methodologies beyond revolution. Armitage shows how civil war is “paradoxically fertile”: highly destructive but also “conceptually generative,” a process that polarizes groups as they seek to define and claim legitimacy over concepts of freedom, authority, or sovereignty, which themselves become sites of “ferocious contestation.”50 I adapt Martin and Armitage’s approach to trouble the republican teleology at work in the historiographic memory of Haiti’s early post-independence history, focusing on the ideologies in tension during the Haitian civil war and their mutually constitutive role in creating the Haitian nation. Through close readings of fiction and nonfiction texts, I endeavor to emphasize the narrative constructions and discursive “making” at work in the production of Haitian history from within, while recognizing the stakes these local histories had for the larger Atlantic story that would be told. Republican historiography sought to nationalize Introduction \| 17 the republican narrative of the revolution, papering over the imperial and military authoritarian nature of Haiti’s revolutionary foundation. Such writing has shaped the way that scholars, both within and outside Haiti, have conceptualized the goals of the Haitian Revolution and the agendas at play in the post-independence civil war. While I performed considerable archival research and work with original sources, readers will note that I privilege one work of Haitian historiography: Thomas Madiou’s eight-volume Histoire d’Haïti (1847– 1848; 1989).51 Simply put, for want of a chronological guide to the events of the revolution and early post-independence period, I determined Madiou’s history to be more neutral than the other possibilities in early Haitian historiography: Baron de Vastey, Hérard Dumesle, Beaubrun Ardouin, and Joseph Saint-Rémy.52 Ardouin in particular is highly ideological in his account of the early post-independence civil war, despite his reliance on a greater amount of archival and documentary evidence. Of particular importance for me is Madiou’s method, which relied on oral testimonies from revolutionaries and insurgent slaves who had lived through the early post-independence civil war. Here, I follow Colin Dayan’s incisive assessment of Madiou’s utility: “Madiou’s interest in preserving the stories told by those who had not been educated in French, who did not share in the mastery of the text, results in those contradictions for which he has been condemned, but which help us to get closer to a history shot through with ambiguity.”53 In order to foreground regional factionalism and civil war in Haiti, I privilege locally produced Haitian texts, which maintain the regional detail, the internal tensions, and the complexities of civil war that tend to get flattened by Atlantic world scholarship.54 I draw specifically on printed matter (including visual culture) published on the ground, by Haitian presses, which I argue offers access to a discursive self-fashioning and performance of statehood that are less mediated than writing published in Paris or other capitals of the world republic of letters.55 My focus on marginal writers and less-studied texts is not, however, an attempt to redeem forgotten heroes or write a redemptive counternarrative. This book has no heroes, to borrow a phrase from Michel-Rolph Trouillot.56 Rather, I am recovering marginalized texts in order to explain precisely why they have been overlooked in historiography and literary histories of Haiti. They are texts that are marginal and illegible 18 \| Introduction to the world republic of letters because they actively wrote against the dominant, normative concepts of “civilization” and “literature.”57 While my corpus of locally produced Haitian print culture reveals the discursively bounded debates about the meaning of liberty between Dessalineans and republicans, these textual debates must be seen in contrast to the embodied practice of liberté that a multitude of other Haitian political factions fought for.58 My corpus reveals much about the competing ideas for how best to self-fashion post-independence Haitian politics, identity, and culture, but cannot give voice to those factions that did not engage in (or have access to) the same self-representative print practices. The northern insurgent slaves who rallied around Sans Souci and Macaya, or the former slaves in the Grand Doco mountains led by Goman (Jean-Baptiste Perrier), produced little in the way of print and are therefore only briefly accounted for in my book. Moreover, nineteenth- and early twentieth-century Haitian print was controlled by literate men and those illiterate men who had the power to command them. Many other ideological camps operated throughout Haiti’s long nineteenth century while existing between the lines of print—namely, the peasantry and women.59 Finally, I take plurality as a guiding principle to unlock deeper discoveries about Haitian agency and political ideology in postcolonial Haiti. In order to reach a more capacious and inclusive understanding of Haiti in all of its iterations, I embraced a specific understanding of “regionalism” that stands apart from its customary use in Caribbean studies. Because Caribbean populations have been defined, since their inception, in relation to a European metropole, their “marginal” status makes them always already “regional” in the larger Euro-Atlantic context. The Caribbean as marginal to the metropole thus masks or obscures the complex realities within this vast, diverse “region.” How, then, to address the local realities of connections, circulations, and (im)mobilities within and across national, linguistic, and geographic boundaries, on the margins of the margin, as it were?60 My new regionalism allows us to acknowledge—and disabuse ourselves of—the tendency to allow Caribbean capital port cities to stand in for the entirety of the island nation. In the case of Haiti, it was only really in the mid-twentieth century that the capital city became the Republic of Port-au-Prince (Repiblik Pòtoprens): a highly centralized state bureaucratic machine that reached its comple- Introduction \| 19 tion under the Duvalier dictatorship.61 By privileging the diversity and plurality of Haiti’s regional existence, my work provides a more fulsome accounting of the rich history of Haiti’s long nineteenth century and its writing from the margins of the world republic of letters. Indeed, the foundational regional tensions in early post-independence Haiti are central to understanding the continued civil war, secessionist regimes, and regional conflicts that persisted in nineteenth- and twentieth-century Haiti, and even to the present day. More important for our purposes here, the revolutionary and post-independence civil wars provide crucial context for making sense of the battles over national identity and cultural legitimacy that have marked Haitian writing since independence. For, while I place great importance on the historical and political context here, my book is ultimately about writing, how it became the primary battleground upon which the internal conflict and guerres de plume were waged, and the heritage of these regional and ideological tensions in Haiti’s long nineteenth century, the Duvalier dictatorship, and even today. Through a sustained synchronic and diachronic engagement with the plurality of Haiti’s textual existence since 1804, we grasp the internal battle over the nature of freedom, civilization, and the meaning of literature that fundamentally shaped Haiti from its founding to our present day. 1 Dessalines’s Empire of Liberty Il faut par un dernier acte d’autorité nationale, assurer à jamais l’empire de la liberté dans le pays qui nous a vu[s] naître; il faut ravir au gouvernement inhumain qui tient depuis long-tems nos esprits dans la torpeur la plus humiliante, tout espoir de nous réasservir; il faut enfin vivre independans ou mourir. (We must, in one final act of national authority, forever ensure the supremacy of liberty in the country where we were born; we must take away all hope of reenslaving us from the dehumanizing government that has kept our minds in the most humiliating torpor; we must, at last, live free or die.) —Acte de l’indépendance The Haitian Republic was not founded in 1804. In fact, the secretaries and military leaders behind the textual performance of Haitian independence did their best to avoid referring to the events of 1804 as a “revolution” or the state a “republic” in the nation’s foundational documents.1 The first declaration of independence, proclaimed on November 29, 1803, by Jean-Jacques Dessalines, Henry Christophe, and Augustin Clerveaux, notably refers to “disturbances” (désordres), “excesses” (excès), “turbulent times” (temps orageux), and a “terrible war” (guerre affreuse), but avoids calling the proclamation of Haitians’ humanity, rights, and anticolonial independence a révolution. Although contemporary American English translations of the November 29 declaration do use the term “revolution,” within Haiti it was not until 1810, under Christophe, that writers would consistently begin to refer to the events of 1791–1804 as a revolution: “the birth of our revolution,” “our immortal revolution,” “the phases of the revolution,” “the tormented revolutionar21 22 \| Dessalines’s Empire of Liberty ies,” and so on.2 Further still, Dessalines’s January 1, 1804, declaration encouraged Haitian citizens and countrymen not to export the events of Haitian independence to neighboring colonies in the Caribbean. He uses the term “revolution” only to refer to what independent Haitians should not be—revolutionary incendiaries or firebrands (boutes-feu): “Let us not, as revolutionary firebrands, declare ourselves the lawmakers of the Caribbean and let our glory consist in troubling the peace of our neighboring islands.”3 The orchestrators of the 1806 overthrow and assassination of Dessalines, on the other hand, billed their actions explicitly as a republican revolution. The republican opposition selfconsciously deemed themselves “révolutionnaires” engaged in a Haitian campaign “against tyranny” (contre la tyrannie)—inscribing their liberal revolution in the heritage of 1789 and even casting Haiti as the lone remaining instantiation of the values of Enlightenment liberalism and republicanism that metropolitan France had failed to secure. If 1804 often gets confused for the 1806 foundation of a republican state, it is worth considering the aftermath of Haiti’s radical anticolonial gesture in further detail. What happened in the first years after Haitian independence? As we shall see, the early post-independence period is marked not by national or political unity, but rather by tension between those who wanted a republic and those who wanted a military authoritarian state, and by many other actors outside the print public sphere who envisioned other iterations of post-independence Haiti. This simple fact, all too often overlooked in scholarship, raises a number of questions. How and why did newly independent Haitians become divided between supporters of Dessalines’s authoritarian state and the republican opposition? How did this foundational tension shape the Empire of Hayti and the 1805 imperial constitution? Why did men like Juste Chanlatte and Louis Félix Mathurin Boisrond Tonnerre rally around Dessalines? Why did they want to proclaim an empire? And finally, how did these early divisions spill into the 1807–1820 civil war between North and South?4 To begin to answer these questions, we must first understand the political and rhetorical strategies that defined Dessalineanism. Dessalineans believed that the best—perhaps the only—way to secure freedom from slavery and independence from French colonial rule was through violence: the performance of violence in written and spoken rhetoric, Dessalines’s Empire of Liberty \| 23 and the act of violence in the sanctioned massacre of French colonists from February to April 1804. These writers, thinkers, and military men embodied the principle of Haitian independence: their freedom was conditioned on the negation of French colonial power, accomplished via the same weapons the French had wielded against them; they were, in Thomas Madiou’s words, “barbarians against colonial barbarity.”5 Thus, Dessalineans did not just reverse “the terms of the colonialist binary of civilization and savagery,” they engaged in a radical, violent anticolonialism—a zero-sum game whose ultimate aim was to annihilate the very premise that the wayward island could be retaken.6 In addition to battling an external enemy—France and other European colonial powers—Dessalineans also constantly negotiated an internal threat: the republic. While we are not yet witnessing the full-blown civil war guerre de plume that we will see in later chapters, this early period offers an important prelude to later divisions. I am aware that this is not the way we are used to thinking about early post-independence Haiti. Yet what I want to suggest here is that our assumptions about this period—namely, of an internal unity set against the threat of an inhospitable, external Atlantic sphere—have made it difficult for us to see the political fault lines that fractured early postindependence writing.7 What I am suggesting here is that the political and ideological divisions that shaped Haiti’s long nineteenth century of post-independence writing were already present in the 1804–1806 period, which, I will argue, was marked by a constant internal tension between Dessalineans and republicans,8 with each group vying to define the post-independence future of Haiti according to its own ideology and political agency, which performed for the dominant Atlantic world powers in starkly different ways. Although the various factions in revolutionary Saint-Domingue united in the war for independence under the banner of Dessalines’s Armée Indigène, as soon as the war was over, the newly independent state of Haiti divided again along the same lines of disagreements, antagonisms, and suspicions that were present during the revolutionary period. The republicans were primarily former Rigaudins from the South who had fought against Toussaint in the War of Knives, among them Alexandre Pétion, Nicolas Geffrard, Laurent Férou, Jean-Louis François, Elie Gérin, Guy Joseph Bonnet, Bruno Blanchet, David Troy, Yayou, and Guillaume 24 \| Dessalines’s Empire of Liberty Vaval. According to Thomas Madiou, the republicans (or “constitutionalistes,” as he refers to them) were especially concerned with the title of “gouverneur-général” assigned to Dessalines and the murmurings of monarchy, fearing that they were participating in a process of “legalizing despotism.”9 They expected Dessalines’s title to be changed once the new government was structured, preferring that he be named president accompanied by a democratic constitution. Among the Dessalineans, the important work of organizing the new state was undertaken by Louis Félix Mathurin Boisrond Tonnerre, Louis Laurent Bazelais, JeanJ. Dominique Diaquoi (Diaquoi Aîné), and Carbonne; Juste Chanlatte served as “secrétaire générale du gouvernement,” alongside secretaries Alexis Dupuy, Carbonne, and Jean-Jacques Charéron, who with Diaquoi Aîné made up the emperor’s “counseil privé.”10 Other leading Dessalineans included Joseph Balthazar Inginac, François Capois (Cappoix), Corneille Brelle, and later Etienne Victor Mentor and Charles Victor Rouanez. According to Madiou, the Dessalineans were less concerned with the form the government took, so long as Dessalines remained leader: “It mattered little that the head of state call himself king, emperor, or president.”11 This chapter traces the print culture of the immediate postindependence period leading up to Dessalines’s assassination on October 17, 1806, recasting Haiti’s earliest post-independence writing within the context of political and ideological divisions that shaped the period. Dessalines’s empire of liberty was a military government with a single powerful executive, committed to order, discipline, and duty as the only way to ensure lasting independence from French colonial rule. Under Dessalineanism, individual rights and liberties had to be sacrificed to the greater cause of sovereign statehood. The republicans disagreed: they sought to found a state according to liberal Enlightenment ideals, embracing the revolutionary language of individual liberties and radical democracy that characterized France’s short-lived First Republic. They wanted to talk about virtue, talents, the rights of man, laws and a constitution, citizens and sharing of power, but were overpowered by the Dessalinean faction—until 1806, when they would revolt against the “tyrannie” of Dessalines’s arbitrary rule and found the southern republic. I begin by focusing on how Dessalineans consolidated and codified Haitian anticolonial independence through writing, which asserted itself Dessalines’s Empire of Liberty \| 25 externally as an anticolonial weapon and internally as a force of unity against the enemy within. Next, we consider the republican opposition’s mobilization of the language, ideals, and symbolism of French republicanism to overthrow Dessalines’s empire and their subsequent disavowal of this foundational act of parricide-regicide. Dessalinean Writing: Une Arme Anticoloniale Kreyòl pale, kreyòl konprann. —Haitian proverb Dessalines formed the intellectual core of his empire by bringing writers, intellectuals, and generals together in a secretarial corps—a key branch of his Armée Indigène. He began assembling his secretarial corps in the summer of 1803, when it became clear that the French were likely to lose the war.12 While Dessalines had not wanted for soldiers, he needed men of letters to transition to an independent state that was legible—and legitimate—in a wider Atlantic sphere. There were many fewer men of letters in the country; most had left during the revolutionary tumult of the 1790s. Dessalines thus began methodically recruiting talented writers and thinkers into his service. The corps was a heterogeneous group: from North and South, of black and mixed-race parentage, from the army and from planting backgrounds, of wealthy and modest means. He started by courting Boisrond Tonnerre, a native of Les Cayes from a wealthy and well-connected planting family, who had spent time in France during the revolution before returning to the colony.13 Boisrond Tonnerre was working as a secretary to the commander of the South, Nicolas Geffrard, when Dessalines selected him to be part of his growing “secretariat” in July 1803.14 Dessalines soon extended his reach outside revolutionary Saint-Domingue to find lettered men to join his cause, most notably Juste Chanlatte and Etienne Mentor. Both Chanlatte and Mentor had been living outside Saint-Domingue during the revolutionary tumult and made plans to return in 1803 to join Dessalines. Mentor had been in France since 1797, having accompanied the French commissioner Sonthonax into exile after Toussaint expelled him.15 Yet news of the success of the Armée Indigène drew him back to the island, much as it did for Chanlatte.16 26 \| Dessalines’s Empire of Liberty It is important to note here that while Chanlatte and Mentor answered Dessalines’s call, many other exiled Saint-Dominguans did not. The most staunch Rigaudins, supporters of French republican rule in the colony, remained in exile in France or joined revolutionary movements in neighboring Caribbean territories before finally returning to the island in 1815–1816 (see chapter 3). Dessalines’s focus on amassing an army of secretaries and lettered men over the course of 1803 and 1804 reveals the importance of discourse and the printed word to the Dessalinean independence project. Writing was a weapon of anticolonial independence. Just as Dessalines brought together his fiercest, most trusted generals to secure and preserve Haitian independence, he assembled a secretarial corps to wage that battle on the discursive front. And just as he armed his soldiers with weapons to disassemble the mechanisms of the colonial machine, he armed his secretaries with rhetoric and printing presses.17 Indeed, Dessalines’s secretarial corps collaborated with military leaders in support of their common goal. Deborah Jenson has pointed to the process of “technological and lettristic partnering” in early post-independence writing between military leaders and secretaries, involving “dictation, discussion, and editing and refinement of the product,” which was common practice among print publics throughout Europe and North America.18 I would add further that this collaborative, collective nature of textual practice extended to the secretarial corps itself: its members shared text, language, and talking points to create a fascinating discursive, citational network that we can trace through all of the documentation from the period. Collectively, they established the lines of argumentation, key phrases, and tone of the text. In this sense, I am not considering Dessalines’s role within postindependence writing as “author” but rather as general: he was in charge, he chose the strategy (in conversation with his trusted counselors), and he gave orders—in Kreyòl—to be executed by his generals and his secretarial corps.19 I want to stress that I am not eschewing concepts of authorship or literature because I think Dessalinean writing is unworthy of such denominations. On the contrary, Dessalinean writing is brilliant, complex, and innovative. Rather, I am attending to precisely what this writing intended to do: to perform Haiti’s anticolonialism legibly in an Atlantic world. As Jenson rightly puts it, Dessalinean writing formulated Dessalines’s Empire of Liberty \| 27 “an anticolonial poetics in the service of the representation of former slaves’ experience and subjective claims, leading to or protecting the establishment of their subversive dominance over colonial authority.”20 As I argued in the introduction, the mechanism through which Dessalineans achieved this anticolonialism is radically new in the colonial context. At the same time, Dessalinean writing draws upon the strategies of vindicationism and refutation—at work in the French print sphere as early as the sixteenth century and widespread in eighteenth-century revolutionary pamphlets—in order to displace and destabilize the authority of French colonial discourse through reiterative speech acts. Dessalinean writing relied upon taking existing language and generic forms from the former colonizer, and making them its own through a process of citation, iteration, and ultimately, deconstruction.21 The point of entry into Dessalinean anticolonial writing is the January 1, 1804, Acte de l’indépendance: a three-part text that includes Dessalines’s proclamation of independence, the act and oath of independence, and the official nomination of Dessalines as “Gouverneur-Général, à vie, d’Hayti.”22 Therein, we find all of the ideas, metaphors, and vocabulary that furnish early Dessalinean writing: the importance placed on language; the need for violence to expiate the horrors of French colonialism and protect Haitian independence (that is, antislavery liberté); and the danger of the enemy within. First and foremost, we note the centrality of discourse and the power of the word to the performance of anticolonial independence. As the Acte makes clear, words matter. It was not merely force of arms that kept the enslaved from achieving independence, but the deceptive words of France’s colonial agents: the enslaved had been “victims of our own gullibility and our own leniency for fourteen years; vanquished not by French forces, but by the deceptive eloquence [pipeuse éloquence] of their agents’ proclamations.”23 The deceptive, dishonest, or misleading eloquence with which the French colonists and administrators—like Pierre Victor Malouet—wrote in defense of slavery and the colonial system was designed to obscure the inhumane, barbaric treatment of the enslaved.24 I insist here on the meaning of the French pipeuse (deceptive, dishonest, misleading) because recent scholars have assumed that the term is a misprint or misreading of the more common piteuse (sad, pitiful). Such an assumption fails to account for the power and significance of 28 \| Dessalines’s Empire of Liberty the term pipeuse and the Dessalinean strategy it deploys: to portray European colonial discourse as masking truth, veiling insidious motives, and covering with flowers the abyss of slavery25—in short, to call out Western civilization for its hypocrisy. I would like to expound briefly here on the problem of the assumption of “misprinting,” which fails to see the radical critique at work in Dessalines’s original text.26 Or rather, it is because of the assumption that Dessalinean language was operating squarely within Western episteme that scholars have assumed that the word was a misprint or a mistake. Critics assume that Dessalinean writers were trying to embarrass or heckle French colonists by making literary judgments on the quality of French writers’ eloquence: it was bad eloquence, pitiful, sad, not worthy. This takes us back to my discussion in the introduction of the anachronistic assignment of the bourgeois liberal codes of “literariness” (taste, finely wrought style) to the period, when indeed Dessalinean writing was actively resisting these codes. When we recognize that Dessalinean writers were operating in a different sphere, the critical assumption of misprinting appears quite problematic. Critics are literally imposing a bourgeois literary hermeneutic back onto a Dessalinean text that was actively challenging it. The assumption of a misprint becomes even more tenuous when we consider that the second letter p in pipeuse is clearly printed in each version of the document and that the term itself was in common usage in the eighteenth century. If we take my proposition that Dessalinean writing was a weapon of anticolonial independence, then Dessalinean secretaries and printers treated it as a priceless resource—as they would the arms and gunpowder that they used to fight the enemy.27 What is more, by putting this term into its rightful context—the Dessalinean sphere—we see a much clearer strategy at work, and its lasting heritage in Haitian discourse throughout the long nineteenth century to our present day. The Dessalinean denunciation of “pipeuse éloquence” is at the origin of the proverb “Kreyòl pale, Kreyòl konprann,” which is translated literally as “Kreyòl spoken, Kreyòl understood” but is used to indicate honesty and candor: “Speak plainly and do not deceive” or “Speak honestly and be understood.” If the deceptive treachery of French colonial discourse—French words—had the power to enslave and dehumanize the inhabitants of Saint-Domingue, then Dessalinean writing deployed French words to Dessalines’s Empire of Liberty \| 29 equally powerful ends. Dessalinean writers sharpened, wielded, and deployed discourse to claim their own freedom by force in the Atlantic print public sphere. Dessalinean writing is a way for independent subjects to fight back and correct their own naïveté (“victims of their own credulity”)—an inward-looking focus that sought to rally Haitians by placing their fate in their own hands.28 In order to neutralize France’s colonial discourse and to protect against European nations’ desire for dominance over other human beings, Dessalineans argued that it was not sufficient merely to expel the French colonial army from Haiti’s shores. The Dessalinean rhetoric of Haitian independence sought to render Haiti un-colonizable by “stealing” or “robbing” (ravir à) France of the idea, the hope, that it could ever resubjugate the Haitian people, as cited in the epigraph at the beginning of the chapter (il faut ravir au gouvernement inhumain).29 The only way to achieve this goal, to become human subjects of their own, was to strike fear into the French and other nations through an act of violent, blood-filled vengeance: “Know that you will have accomplished nothing if you do not show the nations a fearsome, but just, example of the vengeance that a people, proud of having regained their liberty and intent upon maintaining it, must exercise; let us terrify all those who would dare try to steal [ravir] it away from us again.”30 The repetition of “ravir” here is quintessentially Dessalinean writing: highly constructed, but also playing with language. Haiti’s foundational national act is to steal away the idea of reenslaving Haitians, and to strike fear into any country that might try to “steal” Haiti’s just, legitimate independence.31 In this sense, I see Dessalines’s foundational act of anticolonial vengeance—the massacre of French planters and soldiers—and his strategy of discursive or rhetorical violence that I have been sifting out here as different implementations of the same strategy, one of Haiti’s “first acts of sovereignty.”32 It was a multi-front political strategy to maintain antislavery, anticolonial independence at all costs. Moreover, the memory of French imperial violence remained fresh: Leclerc’s expeditionary forces had engaged in spectacular violence during the War of Independence, and the general had even called for the extermination of all black men, women, and children over the age of twelve in the colony.33 Further, David Geggus has pointed out that the massacre of the former colonists was understood as a message to Haiti’s would-be foes: “A ‘terrible but just’ act of retribution would 30 \| Dessalines’s Empire of Liberty send a message to France and the outside world that the Haitians would not surrender the freedom they had won.”34 Dessalinean writing was thus an anticolonial weapon on two levels: a discursive sabre rattling to keep France and other would-be colonizers at bay, and a disarming or defusing of textual weaponry the French might use in retaking the island. Haiti’s act of anticolonial vengeance is written into the foundational documents of independence. The act of stealing away the idea of reenslavement through violence (the massacre of the French) and terror (the fear of violence) is a necessary precondition to the creation of an “empire of liberty” in Haiti. Though the Empire of Haiti would not be proclaimed until many months later (as I discuss below), it is worth considering briefly here Dessalines’s use of the phrase “empire of liberty” (empire de la liberté) in the foundational document of Haitian independence. First, though the phrasing might seem like the soldering together of two seemingly discordant concepts—empire and freedom— Dessalines defined liberté as antislavery independence from colonial rule and not the guarantee of individual rights. Indeed, as I translated it in the epigraph above, the phrase “empire de la liberté” in the Acte de l’indépendance does not refer to a specific government form, but rather ensures the supremacy of freedom—from chattel slavery and from colonial rule (l’empire de la liberté dans le pays qui nous a vu[s] naître). Dessalines’s anticolonial, antislavery state was just that: an independent authority that ensured Haiti’s control of its own liberty, independence from colonial rule, and eternal freedom from chattel slavery through the act of vengeance/self-liberation. Second, I believe that there is a good argument to be made for Dessalines’s use of the phrase as an iteration and adaptation of Thomas Jefferson’s earlier use of the phrase “empire of liberty” (as early as 1779) in his republican, expansionist project to create new liberal subjects and spaces of liberty.35 Scholars of Jefferson argue that he used the phrase in order to create a productive tension between the two terms of the comparison: the unlikely joining of the idea of imperium with the idea of individual liberties that the republican leader valued above all else. Dessalines’s “empire of liberty” understood imperium as the means to reclaim, secure, and protect the freedom and humanity denied to the colonial enslaved. What is more, it did not seek expansion: its principles Dessalines’s Empire of Liberty \| 31 of non-intervention, and thus non-expansion, were made explicit in the Acte. Independent Haiti did not seek to embody Jefferson’s phrase, but rather to critique it. According to these same Dessalinean principles of adaptation and iteration, it performed the Jeffersonian idea of “empire of liberty” to delegitimize and subvert it. Anthony Bogues has shown how black radical critique reveals the paradox of Jefferson’s universal Enlightenment idea. Jefferson’s “empire of liberty” was based on the refusal of freedom to slaves and to Native American tribes, “a project in which the possibility of total domination was the horizon.”36 Here again, Dessalinean thought provides a useful origin point for black radical critique of the paradoxes—and hypocrisy—of Enlightenment liberalism. By claiming the legitimacy of an empire of freedom—one that performed the opposite of Jefferson’s expansionist project and proclaimed radical antislavery—independent Haiti laid bare the paradoxes at the core of Jeffersonian ideals of liberty. Haiti’s claiming of the empire of liberty is yet another example of Dessalinean rhetoric: rescripting dominant terms that circulated in the eighteenth-century Atlantic print public sphere to perform and legitimize Haitian statehood while simultaneously calling into question the putative legitimacy of those dominant systems. Is it so strange to think that Dessalineans intended to create an empire from the start? Scholars’ desire for a redemptive revolution has translated into a lack of engagement with Dessalines’s discomfiting empire. What little analysis there is of Dessalinean imperium places it within the paradigm of Napoleonic imperialism.37 But the empire in Haiti was also designed to safeguard against the political faction that challenged Dessalineans’ hold on power: republicanism. Dessalines warned that Haitians would not truly be free until they rid themselves of the “mark of the French” (empreinte française), which in the Acte de l’indépendance is linked directly to a republican form of government: “The French name still haunts our lands. Everything here revives the memory of the cruelties of this barbaric people; our laws, our customs, our cities, everything still bears the mark of the French; nay, there are still Frenchmen on our island and you believe yourself free and independent of that Republic that fought all nations, it is true, but that never defeated those who wanted to be free.”38 Here again, as before, Dessalines contrasts the putative liberalism of France’s revolutionary republicanism and Haiti’s radical, anticolonial self-liberation. Dessalineans also sought to coun- 32 \| Dessalines’s Empire of Liberty ter the threat of liberal republicanism from within Haiti—the claims to equality and individual rights, but not necessarily a strong anticolonial, antislavery stance—by establishing an anticolonial, antislavery empire. The Enemy Within At the very end of Dessalines’s address to the independent people of Haiti, he calls upon his generals to join in the oath that will eternalize their glory and their independence: to die rather than live under France’s domination. He also issues an important warning: “If there be a tepid heart among us, may he stand back and tremble to utter the oath that will unite us.”39 And once more after the oath is repeated, he warns his generals: “And if ever you were to refuse or begrudgingly receive the laws dictated to me by the spirit40 who watches over your future and your happiness, you would deserve the fate of ungrateful people.”41 These threats are far from veiled, taking aim not only at those who would refuse his orders, but also at the lukewarm generals who might grumble under their breath instead of vehemently proclaiming their desire to renounce the French. Those who dissent, those who are only halfhearted in their support—they will receive the treatment reserved for the ungrateful. Dessalines concludes his address by saying, “But be it far from me this terrible idea,” which serves both to expose and threaten his internal dissenters, gesturing to the dreadful idea of what might befall those who moderated their support of their leader.42 It would be useful here to imagine the effect of this address on the revolutionary generals assembled in Gonaïves. Dessalines was publicly calling out those who disagreed with his designs for the post-independence Haitian state. Did they look to their allies, recognizing the threat against them? Did they look to the ground, hoping not to catch the attention of the Dessalineans? And who were these lukewarm, grumbling resisters? Dessalines was targeting primarily, and perhaps only, his remaining source of opposition after 1804: the republicans. Indeed, Madiou notes that while republican generals such as Pétion, Gérin, and Bonnet signed the proclamation elevating Dessalines to “Gouverneur Général à vie,” they expressed concern for the way other members of the independence movement were speaking about power, government form, violence, Dessalines’s Empire of Liberty \| 33 and vengeance.43 Recall from the introduction that during the War of Independence, northern insurgents such as Jean-Baptiste Sans Souci and Macaya were a great source of internal dissension for Dessalines— what Michel-Rolph Trouillot calls the “war within the war.”44 Dessalines largely quashed that threat by having Christophe and other northern generals assassinate the insurgents, consolidating his power and unifying the North under the Armée Indigène. While followers of Sans Souci, Macaya, and others continued to foment uprisings in the North, the main power centers in post-independence Haiti were held by Dessalineans and republicans. These divisions played out along geographic lines: Dessalines’s power was strongest in the first division of the West, but also in the North in Gonaïves and Cap-Haïtien. The South remained mostly out of his reach: he negotiated power there primarily through the southern generals, and, as Madiou has noted, generals like Elie Gérin operated autonomously most of the time. In many ways, tension with the republicans and the potential for civil war was a constant through line from the earliest days of the revolutionary tumult in the colony. Even with pro-republican André Rigaud’s loss and exile after the War of the South, the southern peninsula—a bastion of pro-French republicanism—continued to operate autonomously from Dessalines’s Armée Indigène, only capitulating to his rule in July 1803. And the role of the pro-republican faction within the Armée Indigène was not seamless: in September 1803, Dessalines criticized Geffrard in the South for being too accommodating to the French, openly trading with them in the port of Les Cayes and treating them with a “moderation” that Dessalines disapproved of.45 The transition from the November 29, 1803, proclamation of independence by Christophe, Dessalines, and Clervaux to the official, ceremonial Acte de l’indépendance of January 1, 1804, reveals these factional divides within the revolutionary government and the very different futures these groups envisioned. During the intervening month, the politics of Dessalineanism, and the language and imagery through which it would be communicated, were decided among Dessalines’s generals and his secretarial corps. The January 1 document reveals their choice: that violent anticolonialism coupled with a military authoritarian state enforcing order, unity, and obedience was the best strategy to move forward as an independent black abolitionist state in the Atlantic world. 34 \| Dessalines’s Empire of Liberty Madiou notes that the secretarial corps set out collectively to draft the text of the official Acte de l’indépendance that would put forth Haiti’s politics into the world.46 The well-known, possibly apocryphal story that Dessalines rejected a first attempt at the Acte de l’indépendance by Charéron, a French-educated member of his secretarial corps, in favor of the unbridled violence of Boisrond Tonnerre’s version is not wrong, so much as it is incomplete.47 That Dessalines would reject versions lacking the requisite tone and imagery is entirely consistent with his view of writing as an anticolonial weapon. But Charéron’s version may also have been too in line with the republican faction, especially if he modeled it on the US Declaration of Independence. What is noticeably absent from the January 1, 1804, proclamation is the language of individual rights and the idea of liberté associated with those rights, the pursuit of happiness, talents, virtue, parliamentarism or the sharing of power, democracy, or a constitution.48 The fact that the final and ultimate version of the proclamation so clearly refuses these elements suggests that Dessalines commanded a document that more fully embodied the spirit of anticolonial independence and addressed the internal threat of republicanism. Juste Chanlatte performed a similar anti-republican anticolonialism in his Dessalinean writing.49 His first published text in independent Haiti was his “Hymne haytiène,” performed on January 21, 1804, which included the signature “Ch . . .” found in many of Chanlatte’s other texts.50 The identification of the author only by the two letters of his last name affirm that Dessalinean writing was a collective and performative endeavor: it was not meant to glorify the individual author or praise his lyric genius, but to glorify Dessalines, the great military hero of Haitian independence, and to unify under him in order to preserve Haitian order and liberty. Chanlatte participates in the multi-generic, multi-platform promotion of Dessalinean anticolonial antislavery, in proclamations, pamphlets, broadsides, poems, and songs. Chanlatte’s hymn rehearses the same themes, imagery, and political positions as the Acte, but through a different form: the ceremonial song of praise. Such poems commonly accompanied ceremonial occasions, and also appear in the pages of Dessalines’s official government paper, the Gazette politique et commerciale, published in Cap-Haïtien in 1804. These poems were sung and performed aloud for an audience—in the case of Chan- Dessalines’s Empire of Liberty \| 35 latte’s “Hymne haytiène,” reiterating and anchoring in oral performance the content of the Acte de l’indépendance. I want to look closely at Chanlatte’s song because he constructs it as a complement to the Acte de l’indépendance and specifically its antirepublicanism and the threat of the enemy within, made evident in the first lines of Chanlatte’s hymn. He addresses the lukewarm Haitians whom Dessalines called out, asking incredulously why anyone would remain silent in the face of Dessalines’s glorious proclamation: “What? You are staying silent, Indigenous People? / When a Hero, by his feats, / Avenging your name, breaking your chains / Has forever ensured your rights?”51 Given the radical anti-French and anti-republican tenor of the Acte, it is notable that Chanlatte’s “Hymne” is directed to be sung to the tune of “Allons enfants de la patrie” as a parody or contrafactum.52 Chanlatte is pointing here of course to Rouget de Lisle’s “Chant de guerre pour l’Armée du Rhin,” which later became known as the “Hymne des Marseillais,” and was declared the French Republic’s national anthem on July 14, 1795.53 But why pen a contrafactum to this particular tune, one of the many symbols of French republicanism? In the spirit and rhetoric of Dessalinean writing, Chanlatte’s hymn highlights and critiques the paradox of French republican liberté enshrined in this foundational text of the French First Republic. More than thumbing his nose at a French readership or listening public, though, I believe, Chanlatte’s contrafactum also had an internal Haitian audience in mind: the pro-republican faction. Chanlatte’s parodic hymn was aimed at those Haitians who had wished to create a republic, and who continued to grumble from the southern peninsula while buying themselves time to make independent Haiti into the radical instantiation of French liberté that they believed it should be: Gérin, Pétion, Yayou, Vaval, Bonnet, and many others, who would eventually overthrow the empire and assassinate the emperor in 1806. Let us look briefly at the two songs together, to see how Chanlatte cites and adapts the French original, ultimately subverting the republican ideal of liberté it promoted. Chanlatte’s hymn follows the same organization of fourteen-line stanzas, each composed of nine lines (with the fourth and fifth lines repeating), followed by a shorter five-line refrain that repeats in each stanza. Here are the first stanzas of each: 36 \| Dessalines’s Empire of Liberty Allons enfants de la Patrie, Le jour de gloire est arrivé! Contre nous de la tyrannie, L’étendard sanglant est levé, (bis) Entendez-vous dans les campagnes Mugir ces féroces soldats? Ils viennent jusque dans vos bras Egorger vos fils, vos compagnes! Aux armes, citoyens, Formez vos bataillons, Marchons, marchons! Qu’un sang impur Abreuve nos sillons!54 Quoi? tu te tais Peuple Indigène! Quand un Héros, par ses exploits, Vengeant ton nom, brisant ta chaine, A jamais assure tes droits? (bis) Honneur à sa valeur guerrière! Gloire à ses efforts triomphants! Offrons-lui nos cœurs, notre encens; Chantons d’une voix mâle et fière, Sous ce bon Père unis, A jamais réunis Vivons, mourons, Ses vrais Enfants, (bis) Libres, indépendants. (Arise children of the Fatherland, The day of glory has arrived! Against us tyranny’s Bloody flag is raised! (twice) Do you hear in the countryside, The roar of those ferocious soldiers? They’re coming right into your arms To cut the throats of your sons, your companions!! To arms, citizens, Form your battalions, Let’s march, let’s march! Let impure blood Water our furrows!) (What? you keep silent, Native People! When a Hero, with his feats, Avenging your name, breaking your chains Forever ensures your rights? (twice) Honor to his military might! Glory to his triumphant efforts! Let us offer him our hearts, our heady praise; Let us sing strongly and proudly, United under this good Father, Forever joined together, We live, we die, His true Children, (twice) Free, independent.) Dessalines’s Empire of Liberty \| 37 If we ignore Chanlatte’s second indication to repeat the lines in the refrain (“Vivons, mourons, ses vrais Enfants, / Libres, indépendants”), the rhythm and disposition of syllables, caesurae, and rhyme follow exactly the refrain in Rouget de Lisle: “Marchons, marchons! / Qu’un sang impur / abreuve nos sillons!” with even the third-person imperative “-ons” ending matching up in the refrains. Chanlatte’s hymn also draws on many of the same images and terms from de Lisle’s original, remaking them in the service of the Dessalinean imagery established in the Acte de l’indépendance. For example, where de Lisle calls upon “children of the fatherland” (enfants de la patrie), Chanlatte calls upon independent Haitians to live and die as Dessalines’s “true Children” (vrais Enfants), replacing the republican fatherland in France with the imperial father of independent Haiti. The poignant image in de Lisle’s refrain of the invaders’ blood irrigating France’s fields is taken up later by Chanlatte, again infused with Haitian revolutionary and Vodou imagery: “With the blood of a cruel horde, / Yes, when you water their bones, / These words can be heard, / Deep from within the land of the dead” (Du sang d’une horde cruelle, / Oui, quand vous arrosez leurs os, / Elles font entendre ces mots, / Du sein de la nuit éternelle).55 The blood of the “cruel horde,” here taken to mean the French expeditionary army and the other colonists massacred after independence, irrigates the bones of “victims”—those earlier inhabitants of the island who perished under slavery and at the hands of the French forces, but also the much longer heritage of Amerindian victims of colonial dominance—a key element in the justification of Dessalines’s foundational act of vengeance. Just as the Acte evoked the bones of the enslaved ancestors and the need to avenge their spirits, Chanlatte evokes the act of watering these ancestors’ bones with blood to allow them to speak. The words voiced by these ancestors—Amerindian and African— are a reprisal of the refrain “Vivons, mourons, ses vrais Enfants” (quoted above), this time transformed from the first-person imperative, “nous,” to the second-person imperative, “vous” command: “Vivez, mourez, ses vrais Enfants” (Live, die, his true Children).56 Here, we have the voices of the island’s dead—slaves, Amerindians—commanding their progeny to rally under Dessalines and avenge their death. The act of giving voice to the voiceless victims of slavery, African and Amerindian is a central part of the Dessalinean anticolonial critique of Enlightenment universalism and with deep ties to Vodou mythology. We mistake and misrepresent 38 \| Dessalines’s Empire of Liberty these critiques when we assume that Dessalinean writers like Chanlatte are operating purely within Western episteme.57 The terror of metaphoric slavery—slavery to arbitrary rule—abounds in Rouget de Lisle’s hymn, which he describes using the language of chattel slavery.58 He rallies the French revolutionary army to fight against an enemy that threatened to “reenslave” them by depicting the soldiers of Prussia, Austria, and other European armies as a “horde of slaves” (horde d’esclaves) because they are subjects of arbitrary rule. By contrast, he describes the French soldiers’ resistance to “vile chains” (ignobles entraves) and “irons” that other European countries were preparing for them: “It is us that they dare plan / To return to ancient slavery [l’antique esclavage]!” Elsewhere, de Lisle warns that the French will labor under the yoke of another master: “By chained hands / Under the yoke [sous le joug] our brows would bend! / Vile despots would become / The Masters of our future!” How can Haitian revolutionaries have heard this, the French Republic’s official anthem, and not seized upon the deafening silence on the actual practice of African, chattel slavery? Again, Chanlatte’s choice of tune for his contrafactum is a significant one: he evokes the paradox of “slavery” in French revolutionary republican discourse and its ultimate failure to ensure the universal project of liberty from chattel slavery. Here again, we are at the heart of Dessalinean critique and the paradox of the Enlightenment idea of liberté. Where Rouget de Lisle’s hymn is a collective song to rally troops, Chanlatte’s hymn is closer to a religious song of worship and thanks to the great liberator of the slaves, who will ensure the Haitian people’s collective future and continued freedom from chattel slavery and French colonial rule. Where de Lisle offers the hypothetical possibility of metaphoric, political reenslavement if the French republican army does not fight European monarchs (“Under the yoke our brows would bend!”), Chanlatte uses a similar phrasing to describe Dessalines’s actual, historical liberation of Saint-Domingue’s enslaved masses. It is Dessalines the African eagle who materializes from the sky (echoing his proclamation in the Acte “I sacrificed everything to fly to your defense”), to lift Haitians from their subjection and rid the island of the French: “To lift up our weary brows / Jacque appears, they vanish.”59 Where there is a collective element to the French Republic’s fight against tyranny in de Lisle’s hymn, in Chanlatte’s there is a clear glorification of Dessalines and his role in the Dessalines’s Empire of Liberty \| 39 liberation and humanization of the colony’s enslaved, and thus a call to unity under the great liberator. The penultimate stanza returns to the indignant, aggressive nature of the first, and rehearses the full weight of Dessalines’s warning about internal discord and the enemy within: Quel est cet indigne Insulaire, Ce lâche cœur, ce vil soldat Qui, désormais sous sa bannière N’affronterait point le trépas? (bis) Qu’il parle; au défaut du Tonnerre, Pour expier cet attentat, Nos bras levés contre l’ingrat, Sauront le réduire en poussière. (Who is this unworthy Islander, This cowardly heart, this worthless soldier Who, henceforth under his banner Would not face death? (twice) May he speak; in the absence of a Thunderbolt,60 To atone for this attack, Our arms raised against the ingrate, Will reduce him to dust.) Here, like the Acte de l’indépendance, Chanlatte’s song seeks to identify those who do not commit fully to Dessalines’s anticolonial independence. The stanza serves as an open call to ferret out the “unworthy Islander” (indigne Insulaire) who shuns his duty to renounce the French and live and die under Dessalines’s paternal authority. The assonance in the letter i links the “indigne Insulaire” with the adjective “ingrat,” in a direct reference to the Acte, which warned those who refused or begrudgingly received Dessalines’s orders (tu mériterais le sort des peuples ingrats). The internal dissenter is all of these things (an unworthy islander, an ingrate), but he is surely not a Haitian—not worthy of this name that Dessalines chose to symbolize Haiti’s Amerindian ancestors and their brave fight to the death against the conquistadores. It is more than simply being an islander (insulaire) that makes one Haitian: one 40 \| Dessalines’s Empire of Liberty must be committed to Dessalines’s radical regime. Chanlatte demands that this ingrate (ce lâche cœur, ce vil soldat, here linking back to the cœur tiède of the Acte) make himself known. He asks: who is this dissenter who shies away from confronting death, from taking the oath that Dessalines delivered—to live free and independent, to choose death for all those who would seek to reenslave Haiti? May he speak (“Qu’il parle”) and may a thunderbolt strike him down right then. Only if this divine intervention does not come will his own brothers strike him down, reducing him to dust (an image that picks up on the image of ashes in both Rouget de Lisle’s original and the Haitian Acte). The song ends on a note of religious worship that serves to transform the revolutionary fervor of 1802–1804 into a consolidation of the empire and Dessalines’s imperial rule. Chanlatte takes the famous rallying cry of
5858	dbpedia	0	23	https://twitter.com/DarlaTheTeacher/status/1348721342422470659	en	x.com			[]	[]	[]	[ "" ]	null	[]	null			https://abs.twimg.com/re…ios.77d25eba.png	X (formerly Twitter)	null
5858	dbpedia	1	38	https://borinqueneers.com/en_US/soldier/1lt-adolfo-j-de-hostos/	en	1LT Adolfo J. de Hostos – The Borinqueneers	https://borinqueneers.co…x512-100x100.jpg	https://borinqueneers.co…x512-100x100.jpg	[ "https://borinqueneers.com/wp-content/uploads/2019/01/SOLDIER-512x512.jpg", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2018/08/borinqueneers_logo-e1533748007425.png", "https://borinqueneers.com/wp-content/uploads/2019/01/SOLDIER-512x512.jpg", "https://borinqueneers.com/wp-content/uploads/2018/08/page-title-bg.jpg", "https://borinqueneers.com/wp-content/uploads/2024/04/DeHostos-Adolfo-LT-8x10-72-WM.jpg", "https://moderate2-v4.cleantalk.org/pixel/4bd4f85a2d3e47d45f7c23c80f2a06ad.gif" ]	[]	[]	[ "" ]	null	[]	null		en	https://borinqueneers.co…x512-100x100.jpg		https://borinqueneers.com/en_US/soldier/1lt-adolfo-j-de-hostos/	Article: Adolfo Joseph de Hostos (born in January 8, 1887 in Santo Domingo, Dominican Republic – October 29, 1982 in San Juan, Puerto Rico). He was the son of Eugenio Maria de Hostos (a Puerto Rican educator, philosopher, intellectual, lawyer, sociologist, novelist, and Puerto Rican independence advocate.) and brother of Eugenio Carlos de Hostos, who also served as an officer in Companies B and E in the Porto Rico Regiment from 1905-1920. Adolfo served in the military from 1905-1919 as one of the first Puerto Rican officers of the Porto Rico Regiment and as a military aide to Gov. Arthur Yeager before his appointment by Gov. Blanton Winship as the fifth Official Historian of Puerto Rico from January 1936 to 1950, a position created in March, 1903, by the Puerto Rico Legislature.
5858	dbpedia	0	74	http://www.habanaelegante.com/Spring_Summer_2011/Invitation_Arroyo.html	en	Invitation au voyage			[ "http://www.habanaelegante.com/small_logo.jpg", "http://www.habanaelegante.com/portada_button_1b.jpg", "http://www.habanaelegante.com/Labels_Buttons/Invitation_label.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/mason.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/betances2.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/hostos.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Toussaint.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/pierreboyer.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/commune.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/banderagritolares.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/wendell_phillips.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/antonio_maceo.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/josem.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/bug_jargal1.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Firmin.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Frederick_Douglass.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Vodou.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/betances5.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/laboulayefrench.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/vincentoge.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/christophe.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/dessalines.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/bolivar.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/jibaro.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Gran_Logia_Soberana.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/acampos.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/GLDC.jpg", "http://www.habanaelegante.com/portada_button_1b.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Revolution in the Caribbean: Betances, Haiti and the Antillean Confederation1 Jossianna Arroyo, University of Texas, Austin They happily supported, although uncomfortably, the condition given by the riddleâs author, to respect the right to secrecy, and that answers should not be revealed unless they were discovered [â¦]Vaguely alarmed, the priest could not stop thinking that this riddle-game started to look like a Masonic ritual. âAna Lydia Vega âEl tramo de la mudaâ 120-121.(2) I. Technologies In the short story âEl tramo de la mudaâ (âThe trail of La Mudaâ) Puerto Rican writer Ana Lydia Vega tackles the relationship between revolution, secrecy and politics in the Puerto Rican nineteenth-century. The protagonist of the story, a well-spoken mulatto, molded on the figure of RamÃ³n Emeterio Betances, accompanies various Peninsular passengers in a horse-carriage. Crossing the trail of La Muda he entertains them with a series of riddles that are telling them clues on where, when and how the 1868 independence conspiracy will begin. Every time they fail a riddle, they need to pay him. As the game progresses and the passengers fail to read all the clues, they end up losing their money. When the passenger exits the carriage, some words, written with his tobacco-stump, appear on the door: âÂ¡GRACIAS POR CONTRIBUIR! CAPA PRIETO y PORVENIRâ (Thanks for your contribution! CapÃ¡ Prieto for the Future!) (126). It is from these words that the group discovers that there is obviously a Creole plan to revolt and that they were tricked to pay for it. CapÃ¡ Prieto was one of the few secret societies involved in the Lares Revolt of 1868. To plan a revolution, secrecy and the âopen secretâ need to coexist. âThe Muteâ (La Muda) allegorizes these links between secrecy and revolution. Betances is the pragmatic leader-activist who playfully tricks them.Â JosÃ© PÃ©rez-Morris identifies CapÃ¡ Prieto as a Masonic lodge. Other historians such as Lidio Cruz-Monclova, argues that although some of these associations used Masonic symbolism, mainly secret codes in letters, and handshakes, they were not Masonic entirely, but used Masonic codes for political purposes.Â The coexistence of both secret societies with revolutionary-pro-independence aspirations and Masonic lodges that supported independence was central to the way politics was articulated in the Spanish Caribbean after 1860. Their role was not always radical, as some lodges were pro-Peninsular, while others used liberal changes to Spainâs imperial politics to move their own Creole definitions of sovereignty for both islands. After 1868, Cubaâs successful Grito de Yara, and the parallel Grito de Lares in Puerto Rico, Masonic lodges and their associates forged a trans-Antillean coalition of forces in which leaders from Haiti, the Dominican Republic, Puerto Rico and Cuba all worked together for similar ends. They all spoke the common language of Freemasonry in their letters, codes and political pamphlets, a language able to facilitate alliances across national borders and ethnic differences. Beginning most notably in the 1860âs and continuing to 1898, Spain declared a âstate of emergencyâ in the Spanish Antilles due to Cubaâs successful insurrection, and Puerto Ricosâ prosecution-exile of conspiracy leaders. This âstate of emergencyâ became commonplace throughout the Caribbean, while the dissemination of technologies of imperial social warfare resulted in new forms of resistance and negotiation. This essay focuses on RamÃ³n E. Betances, the mulatto Masonic leader and ideologue of the Antillean Confederation (ConfederaciÃ³n Antillana) movement.Â In particular, it offers an analysis of Betances trans-Antillean coalitions in this period. It studies Betancesâ little known writings on Haiti and the Haitian Revolution, as well as as explores his connections to the island of Hispaniola as a whole. Haiti exercised an important historical and political influence over the communities of the Spanish Caribbean and Afro-diasporic communities within the United States. My analysis will not only provide the tools needed to garner a new understanding of the radical complexities (both racially and socially) of the ConfederaciÃ³n Antillana (Antillean Confederation) project proposed by Betances and Eugenio MarÃa de Hostos; it will also underscore the foundational character of this project, inasmuch as it created cross-national dialogues and connections within what Frank Guridy has called âAfro-diasporic networks.âÂ It is my contention that JosÃ© MartÃâs critique of race and empire in the late 1890s, a critique that Laura Lomas calls radical trans-Americanism, owes more than is generally recognized to the earlier political languages of Freemasonry wielded by Betances and other leaders, and to the visions of race and politics articulated by such Dominican and Haitian leaders as Antenor Firmin and Pedro F. BonÃ³.Â The internationalist perspective informing the political languages of Afro-diasporic Freemasonry (languages which national histories have generally erased), defined trans-cultural âtechnologiesâ as the critically situated stores of knowledge that enable community formation and political solidarity. While the war in Cuba provided MartÃ with the pragmatic political ideal of a raceless nation, Betances and the earlier leaders of the Antillean Confederation started years earlier to define processes of race and class identification to define forms of political solidarity. Although Hostos sought to erase Haiti as a viable political and social example for the Spanish Caribbean as he makes clear in his novel, La peregrinaciÃ³n de BayoÃ¡n (1863), Betancesâ political dialogues with Haiti suggested the possible formation of new configurations and alliances.(3) Â Clearly these two voices advocated very different, and conflicting notions of nationhood and race; while Hostos defined the nation as the white Creole classes in their struggles and negotiations with local metropolitan powers, Betances appealed to a nation rooted in the tradition of Caribbean radical mulatto/black thought and expressed in the international Masonic-diasporic networks. In this sense, JosÃ© MartÃâs trans-American critiques are clearly a fusion between these two opposing perspectives. By closely examining the biography of RamÃ³n E. Betances as a political-diasporic leader, and more importantly, carefully analyzing his Masonic speeches on Haiti, I hope to reveal the complexities of these trans-Caribbean debates on race and sovereignty. Debates which emerged from their own political context but which continue to be relevant to contemporary discussions about Pan-Latino or Pan-Caribbean solidarities in the United States.Â Betances, a diasporic figure, viewed the island of Hispaniola (Haiti/Dominican Republic) as the historical site from whence the war against imperial Spain could be launched. His writings on Haiti progress from the disavowed yet omnipresent geographies of fear (Fischer), to the utopian longings of black populations throughout the Americas (Mirabal), to the articulation of new political solidarities and forms of government for the Spanish Caribbean. Enmeshed within his use of the Masonic languages of freedom, equality and brotherhood, ideas about race and blackness became central to his visions of governance and political solidarity, especially in regards to the project of the ConfederaciÃ³n Antillana. II. El Antillano RamÃ³n E. Betances, a cosmopolitan yet under studied figure in Puerto Rican Studies, called himself âEl Antillanoâ but lived most of his life in exile.Â Born in Cabo Rojo, Puerto Rico, to Dominican parents, Betances was initiated into Freemasonry in the UniÃ³n Germana lodge, located in the western town of San GermÃ¡n, whose members were subject to the jurisdiction of the Oriente Nacional lodge of Santo Domingo (Torres, JosÃ© G. âApÃ©ndice, Bosquejo HistÃ³rico de la MasonerÃa en Puerto Ricoâ, 234).Â In 1840, shortly after his migrating to the Spanish colony of Puerto Rico with his family, Felipe Betances (RamÃ³nâs father) had had to publicly âwhiten his bloodâ (proving âlimpieza de sangre) in the Cabo Rojo courthouse in order to successfully marry his daughter into a local Creole family. During the trial, Felipe Betances claimed that he belonged to a distinguished family on his motherâs side, and that his fatherâs âBetanzosâ family was widely recognized as âblancos llanos,â a term from the eastern regions of Hispaniola referring mainly to propertyless mulattoes. In the Dominican Republic at that time, black or mulatto property owners were granted privileges as âblancos de la tierra,â but the propertyless âblancos llanosâ did not have the same privileged social standing.(4) Felipe Betances ultimately won his case, not only enabling his daughter to marry into a distinguished white family, but also erasing the mulatto origins of his fatherâs family, that is, until his son RamÃ³n began to reclaim those origins as part of a radical political tradition associated with blackness.Â From the archival transcriptions of the 1840 case, it is clear that in the Spanish Caribbean of Betancesâ day, whiteness was associated with adjectives like âdistinction,â âhonorability,â and ârespectability,â while blackness was generally equated with unknown or disputed origins and âdishonorableâ associations.(5)Â One can clearly observe through the renowned case of Felipe Betances how concepts of blackness in Hispaniola became intertwined with those developing in Puerto Rico, where white immigrants â mainly Jewish, Corsican and Iberian â continued to arrive from Costa Firme (Venezuela, Colombia, Curazao) as a result of the wars of independence and the CÃ©dula de Gracias (1815).(6)Â Whiteness, as well as blackness, were changing and evolving as social signifiers in the early nineteenth-century insular Caribbean. Raquel Rosario has found that the revolution of Saint Domingue and the purchase of Louisiana resulted in a significant migration of families to the southwest region of Puerto Rico.Â Of the many landowners, farm laborers, carpenters, and shoemakers who came to Puerto Rico, Rosario claims that 59% were blacks (87).(7) Several of the families who migrated from Guarico (Saint Domingue/Haiti) established themselves in the western town of Mayaguez, owned acres of land, and even had slaves. Nevertheless, documents identify these families as pardos or mulattoes. In her of study on Dominican and Haitian migration to Puerto Rico dating back as early as 1796 and the Treaty of Basilea, HaydeÃ© Reichard explores the fear of a black slave rebellion in Puerto Rico, or what Governor RamÃ³n de Castro called âthe Haitian syndrome.â The western town of Aguadilla, where many immigrants settled, witnessed one of the several black rebellions that erupted in Puerto Rico after 1795. According to official reports, more than 20 slaves were arrested or killed in Aguadilla, where black rebels rose up âin imitation of the blacks of Guarico, the French colony.â(8) As historians and critics have shown, the meanings of blackness and whiteness began to change on the island of Hispaniola in the wake of Toussaint LâOvertureâs 1801 invasion of the eastern part of the island and the subsequent years of Haitian occupation (1822-1844). While many elite Dominicans rejected Haitians blackness and enacted their sense of social and cultural superiority through appeals to whiteness and Hispanic-Peninsular origins, non-elite Dominicans articulated a socio-political discourse on blackness that centered on the processes of abolition. In November 15, 1821 several frontier towns near the border raised the Haitian flag in a sign of independence. While some elite Dominicans declared their independence from Haiti and named the new nation âThe Spanish Haitiâ or âEl HaitÃ EspaÃ±olâ they also sought alliances with Gran Colombia in South America. Former slaves and political leaders who supported emancipation ally with Jean Pierre Boyer forces to keep the abolition of slavery in all the territory. Thus, competing racial discourses linked whiteness with respectability, social status and Hispanic white-Creole alliances, and blackness with Haiti, revolution, abolitionism and anti-slavery politics. Betancesâ political solidarities with blackness and with Haiti were clearly different from the affiliations of his fellow colleagues in the Antillean Confederation who hailed from other islands of the Spanish Caribbean, like Eugenio M. Hostos. My own view echoes JosÃ© Buscagliaâs important insight, that mulatto-solidarities in the Spanish Caribbean offer important political strategies to anti-imperial politics.(9) One could argue that Betancesâ more inclusive views of blackness emerged from the exigencies of the particular historical conjuncture during which he was writing. Raised in a liberal family, RamÃ³n E. Betances became involved from an early age with abolitionist, antislavery and Masonic radical discourses of independence in Puerto Rico. While in medical school in Tolouse, France, young RamÃ³n witnessed the 1848 Commune uprisings and thereby received first-hand instruction on the languages of revolution and social utopianism (i.e. Saint Simon and Blanqui).Â It was during his years in France that he arranged to marry his second cousin, Carmen Henry. However, after traveling from Cabo Rojo to Paris, his betrothed cousin became gravely ill and died just two weeks before the wedding was to take place. Betances returned to Puerto Rico with Carmenâs casket, buried the body in a cemetery in Cabo Rojo, and spent the following days and weeks at her burial site.Â For the rest of his life, he neither married nor lived with any woman, deciding instead to dedicate his life to medicine and politics.Â He would practice medicine in Mayaguez and Cabo Rojo, helping slaves and the poor black and mulatto populations during the cholera plague. Eventually, he began to free slave children presented to the baptismal font, a practice that offered the first evidence of his being a activist and âsocial agitator.â After the failure of the Grito de Lares in September 1868, Betances went into political exile in other parts of the Caribbean, Venezuela, the United States and finally France. After brief periods of exile in St. Thomas, Venezuela and New York, Betances moved to Jacmel, Haiti, where he spent the next five years (1870-1875).Â As a doctor, political mediator and eventually a delegate in the Cuban Republican Party, he was able to befriend a wide array of politicians, intellectuals and common folk. The Betancesâ family had a long political history with Haiti, centered on the defense of Dominican nationalism and sovereignty. Betancesâ grandfather participated in the 1844 âTrinitaria Movementâ ousting then-president Boyer and ending the Haitian occupation of the Dominican Republic. Twenty years later RamÃ³n E. Betances, worked in a political coalition with Haiti during the Restoration War of the 1860âs.Â Haiti played a key supportive role in the effort to prevent Spain from ârestoringâ the Dominican Republic to colonial status, and it was during this juncture that Betances emerged as a key conciliatory figure between the anti-colonial movements on the island of Hispaniola and those in Cuba and Puerto Rico. For Betances, republicanism was linked to abolitionism and the glorification of Haitian leaders such as Toussaint LâOuverture.Â In 1869, Betances translated U.S. abolitionist Wendell Phillipsâ essay âToussaint LâOuvertureâ into Spanish and published it in the form of a political pamphlet entitled Toussaint LâOuverture: Discurso de Wendell Phillips. Traducido del inglÃ©s por un Puerto-riqueÃ±o.(10)Â Around the same time he wrote an essay entitled A Cuba Libre: Ensayo sobre Alejandro PetiÃ³n, which he published in New York. Betances relied in his writings upon the politics of translation as a strategic technology for ethnic crossovers and Pan-Caribbean affiliation.Â Historians, who have been mining archives throughout the Atlantic in an effort to recover the entire body of Betancesâ journalistic, literary and political writings in Spanish, English and French, remain perplexed by the quality, clarity and intelligence of his political views.(11)Â Masonic writing at the turn of the century fell into three main areas: 1) writings related to the history of Freemasonry, covered mostly by Masonic historians or brothers who held positions as Lodge Secretaries; 2) writings related to the lodge business, both international and local (international meetings, Masonic laws, irregular or new lodge chapters), mostly composed by Grand Masters or Secretaries holding international positions; and 3) political writings of Masonic oratory or speeches, which in the case of Creole lodges, are characterized by revolutionary language.Â Of these three kinds of writings, Betances is most identified with the third; for he was a political lobbyist and strategist who used his Masonic alliances to organize secret political missions.Â In this sense, his role was similar to the one exercised by JosÃ© MartÃ and Antonio Maceo within their respective exiled communities in Key West, New York, Costa Rica and Jamaica.Â That is, he was an orator, and his most important contributions to Freemasonry â at least from the perspective of the historical documents â were the speeches he wrote which were to be read and performed at Masonic lodge tenidas or weekly meetings.(12) Referred to as âel desterradoâ (âthe landless oneâ) by his main historical analyst and biographer FÃ©lix Ojeda Reyes, Betances truly embodies a circum-Atlantic diasporic identity.Â Having lived for years in exile, first as a student in France and then in St. Thomas and eventually France, Betances was accustomed to discussing Toussaint LâOuverture, Alexandre PÃ©tion, and the other leaders of Haitian Independence. More than other intellectuals from the Spanish Caribbean, Betances was culturally and politically connected to the histories of Hispaniola. Because of his paternal ancestry, his political and familial connections to the island remained strong.Â His writings offer evidence of the support he gave to Gregorio LuperÃ³n during the Restoration War, and in this sense, Betances was one of the few intellectuals from the Spanish Caribbean who advocated an open and respectful relationship between the bordering nations of Hispaniola. He was a political ally of both the Dominican Republic and Haiti, and he argued fervently that the Dominican Republic and other nations of the Spanish Caribbean needed to learn from Haitiâs constitutional example and revolutionary solidarity, as well as from its political divisions and mistakes. A familiarity with French history, culture and language was not only a natural consequence of Betancesâ life in exile; it also became the strategic location from which he most frequently articulated his political arguments.Â As the leading figure of the Cuba Libre movement among exiled communities in Paris from the 1870s to the 1890s, Betances relied upon French as his language of communication, writing and translation.Â He worked as the editor of the journal Republique Cubain, and authored many books and letters related to the revolutionary effort. Understanding the context in which Betances produced his French writings, and his subsequent essay on Alexandre PÃ©tion, is essential; for in these essays, he manages to weave together into one history a series of histories that national narratives generally isolate from each other, including the French Commune, Haitian independence (1804), the colonial histories of Puerto Rico, Cuba, and Hispaniola, and the triangular relationship between these colonies, Spain, and the United States. To escape the censorship and vigilance of the Spanish colonial establishment, to acquire passports and licenses to travel, to relocate from country to country, and to repeatedly change residences (New York, St. Thomas, Venezuela), Betances had to rely upon connections within the transnational Masonic brotherhood as well as within the U.S. and British embassies. Like other revolutionary leaders at the turn-of-the-century (and even today), Betances learned at an early age to take advantage of geopolitical conflicts and imperial rivalries within the Caribbean Basin.Â Central to his political technologies were the negotiations he carried out with spies, double-agents and ministers, all arranged through the secret rituals and codes of his Masonic alliances. Ada SuÃ¡rez DÃaz has suggested that, for nationalist historians in Puerto Rico, one of the most perplexing tasks is to make sense of Betancesâ reliance upon U.S. or British consulate protection to escape troublesome exiles or arrests. For Betances, a technology like the language of transcultural agency escapes the limits of hegemonic nationalist affiliation, for it can only be deciphered through diasporic connections or acts of political and social defiance articulating a modern double consciousness. Betances identified this modern stance with the body; a body which â like all colonial subjects â is fragmented, tortured, exiled, and condemned to barrenness; a body which translates the nexus between the local and the universal into the means of overcoming social death, or in other words, a means of survival.Â III. Haiti and the ConfederaciÃ³n Antillana One of the main problems for scholars like myself, who examine social thought in the Spanish Caribbean in relation to the processes of racialization and diaspora, involves two related questions: why did radical thinkers such as JosÃ© MartÃ and Eugenio MarÃa de Hostos turn their backs on Haiti in the 1880s and 1890s; and how did they manage to construct discourses in favor of racial and gender equality while at the same time erasing or disavowing Haiti?Â Haiti was the first nation in Latin America to abolish slavery and the only republic that constitutionally declared all of its citizens black.(13)Â Obviously, the nation of Haiti and the Haitian people as a whole paid a high price for that declaration. For many historians, the answers to the two aforementioned questions are political and strategic in nature.(14) Â By the 1890s, the Haitian nation had finally been recognized by the U.S. but was wracked by civil war and divided by race-based partisan politics (black vs. mulatto).Â Even as JosÃ© MartÃ embraced the national unity of the races in Cuba in his famous Manifesto de Monte Cristi (so named for the town on the border between Haiti and the Dominican Republic where MartÃ signed the manifesto, a border zone that remains contested to this day), Haiti was far from a politically stable nation, divided both by competing U.S. and European economic interests and by ongoing strife between mulattos and blacks. As early as the 1860âs, sociologist Eugenio MarÃa de Hostos had warned of the âdanger of Haiti,â discouraging its adoption as a political model for projects of decolonization in the Spanish Caribbean.Â In a political novel from this period entitled La peregrinaciÃ³n de BayoÃ¡n (1863), Hostos presents the story of three characters âBayoÃ¡n, MariÃ©n and Guarionexâ who symbolize, respectively, the islands of Puerto Rico, Cuba and Santo Domingo. From the outset of the novel, it is clear that Hostosâ references to Santo Domingo correspond to Hispaniola (present-day Dominican Republic and Haiti), the first Spanish colony in the Americas.Â Â In a journey undertaken by BayoÃ¡nâa journey that is both a recollection and a critical reversal of Christopher Colombusâ first voyageâBayoÃ¡nâs ship touches down on the coast of St. Nicholas in Haiti, a stop that unravels the following reflection: Who inhabits this coast?Â A race that proves that the spirit of men knows no color; that the same spark exists in all of them:Â the blacks have founded an empire in this place. Mysterious justice! Only you are omnipresent! You give strength to the unhappy African, ripped from his jungles and enslaved by force.Â Use that strength to break his chains: with the iron, he makes weapons; and with weapons, an empire (62).(15) Here Hostos presents a Romantic depiction of Haitians, similar to Victor Hugoâs Bug-Jargal or Rousseauâs noble savage.Â As Susan Buck-Morss has noted in âHegel and Haitiâ, slavery was common metaphor in the discourse of political freedom; and in Hostosâ quote, slaves use their work tools to unchain themselves in a quest for freedom. At the same time, the Puerto Rican sociologist gives a negative connotation to the word âempire,â associating it with violence and domination.Â Justice is âmysteriousâ in the above-cited passage because it gives slaves their freedom, but teaches them to use their tools to create violence. Hostos suggests that civilization in the hands of Africans is tainted by the experience of slavery; the strength that serves to âfreeâ Africans is misunderstood by blacks, who fail to comprehend freedom as âa force of spiritâ in Hegelian terms. The question of the humanity of the slave came to the fore of philosophical and political debates in the wake of the French Revolution, and particularly after Haiti proclaimed its independence in 1804, the first country in Latin America to do so. Â In that context, the slaves considered by classical legal codes to be socially dead, property and non-human had achieved independence, written constitutions and enacted new laws. The geopolitical implications of Haitiâs independence touched and unsettled the language of universal reason (Buck-Morss).Â Â Because âempireâ is a metaphor for expansion, Hostos here is warning against the export of Haitiâs radical revolution, a radical alternative that was not part of his political vision for the Spanish Caribbean.Â In Cuba, however, mired in a revolutionary struggle since 1868, intellectuals like JosÃ© MartÃ saw things differently. As MartÃ notes in his posthumous Diario de CampaÃ±a de Cabo Haitiano a Dos RÃos, the 1895 GÃ³mez expedition in 1895 received support, hospitality and military aid from Haiti.Â In describing the departure of the expedition from Cap Haitien, MartÃ uses a language centered in what Derrida has called the politics of friendship.Â He weaves Spanish together with French and KrÃ¨yol into a poetic language of political brotherhood and solidarity. While in Haiti, MartÃ spent his nights in houses belonging to Haitian Freemasons to whom he would read articles from Masonic journals, local newspapers and encyclopedias by candlelight.Â His visits to Hispaniola also proved fruitful in other ways, as MartÃ made personal contacts that helped him refine his racial theories.Â In many ways, to think about race in Haiti, but also on the lynching of blacks and the segregation on the U.S. south helped MartÃ, as Jorge Camacho forcefully argues, to rethink his views on race in Cuba.(16)Â Camacho sees the duplicity of MartÃâs discourses of âracial fraternityâ in his writings in the 1890s pointing out that MartÃ, recreated these imaginaries to strategically built the political unity of the Cuban exile community.17 In 1893, two years before the GÃ³mez expedition, MartÃ met with black Haitian intellectual Antenor Firmin in the border town of Monte Cristi, where he would write his famous Manifiesto de Monte Cristi.Â Firmin, who had befriended Betances during their exile together in St. Thomas, held long meetings with JosÃ© MartÃ during which they talked about the future of the Caribbean islands and MartÃ heard about Firminâs vision of an Antillean Confederation.Â As Brenda Gayle Plummer points out, Firmin lived most of his years of exile in Paris and was the author of De lâÃ©galitÃ© des races humaines (1885), the only response written by a black intellectual to Gobineauâs infamous essay Lâ inÃ©galitÃ© des races humaines. Firmin was the first black intellectual to become a member of the MusÃ©e de lâhomme in Paris. While a believer in science, Firmin composed his book as a critique of the paradigms of scientific racism, and instead, like Booker T. Washington and other race activists, emphasized the importance of education: But I take enormous pride in knowing that all Black people, those living today and those to come, will read this work and become convinced that their imperative duty is to work hard and to improve themselves in order to wash away the unjust imputations that have weighed upon their race for so long (Preface vvii).Â In preaching educational uplift, Firmin and other writers of his generation failed to criticize the role of structural racism in their respective societies (Plummer). JosÃ© MartÃ, as Firmin, believed in the assimilationist power of education for the black race.(18) This educational uplift model, had to be backed with a change in the structures of economic power, but again, MartÃ did not live to see these changes in Cuba, while Firmin like many African American and mulatto leaders of his time (including Betances), placed his faith in the future of Haiti as the country that would redeem the black race. Â Nevertheless, for MartÃ the Haiti of the 1890s appears as a political role model that Cuba should not follow. In a letter to the Director of the Buenos Aires newspaper La NaciÃ³n (1889) he makes reference to the return of U.S. consul to Hispaniola, ex-slave Frederick Douglass in an unsuccessful mission. About Haiti, he mentions that a U.S. war ship has returned; âcargado de historias de los curas papalois que beben sangre, y del frenesÃ de los bailadores de bambulaâ (âEn los Estados Unidos,â 131); an ironical comment that puts down the consular initiatives of Douglass vis `a vis Haitian âdisorderlyâ or âAfricanizedâ politics. While he stereotypes Vodou, in another article he cricitizes the political interference of the United States in Haitian-Dominican affairs, âNi que pudo explicar la sÃºbita terneza y cuidado exquisito con que, con el pretexto de un tratado falso entre Francia y HaitÃ, mirÃ³ la secretarÃa de Washington los asuntos haitianos?[â¦] y perturbÃ³ a Santo Domingo con la resurecciÃ³n sÃºbita de derecho de una empresa caduca a la BahÃa de SamanÃ¡?â (âLa polÃtica extranjera de Uncle Sam,â 241). From these quotes, we can conclude that these intellectuals turned their backs on Haiti because the country clearly mirrored their own socio-political fears for their nations. Camacho argues African religions or atavistic customsâsuch as AbakuÃ¡ masculine societiesâ were a problem for MartÃ who saw only in the fraternity of war, and in education the future of the republic.Â The realization that Cuba was part of the Caribbean and not a political âexceptionâ became clear to MartÃ in the late 1890s through his contacts with other Caribbean immigrants in the United States. What is clear is that in the 1890s, Haiti continued to be displaced, denied and disavowed in the political, racial, and social maps of the Spanish Caribbean (Fischer). Black Dominicans saw themselves differently from the blacks of Haiti, Puerto Ricans did not recognize themselves poor or black as Haitians, and Cubans abhorred the idea of becoming a black nation governed by blacks. Even as JosÃ© MartÃâs trans-American critique of empire is clearly indebted to the theoretical innovations of the ConfederaciÃ³n Antillana, it is just as clear that contemporary historians have erased the importance of Haiti and Hispaniola as a whole in the intellectual processes of nation-building in the Caribbean. With the exception of historians FÃ©lix Ojeda Reyes, Ada SuÃ¡rez-DÃaz and Paul Estrade, all of whom have insisted upon the importance of Betancesâ transnational and diasporic connections and his advocacy of a broad, Antillean political community, national histories still present narratives of racial democracy in which the whitening of the social and political constituencies plays a central role. The Haitian Revolutionâfeared and erased by most Creole elites in Cuba, Puerto Rico, the Dominican Republic, Venezuela, Colombia and Brazilâwas at the center of this social imaginary. In the hands of the Creole elites, it became the basis for the ideology and politics of fear; but filtered through channels of communication and translation like Creole and mulatto Freemasonry and the Afro-Diasporic religions of Vodou, SanterÃa, and AbakuÃ¡, the Haitian Revolution became an ideology of emancipation. From these communicative networks emerged strong transnational-diasporic languages in which the voices of black, mulatto and Creole Freemasons were central.Â At the same time, these Freemasons constructed and renegotiated emancipatory ideologies of freedom along with critiques of old and emerging empires (Spain, U.S.), all the while building solidarity amongst different migrant populations. As early as 1870, Betances understood that including blacks and mulattoes in the Cuban and Puerto Rican independence movements would challenge the established social hierarchies of race and class that colonial slavery had introduced in these societies. As Aline Helgâs work has shown, portrayals of the Cuban struggle for independence as a ârace warâ and âanother Haitiâ created fears among white communities - not only abroad, but also among the same revolutionary white Creoles who directed the movement in Cuba.Â Helg illustrates these fears most clearly in her analysis of the way Creole leaders treated black military officers like Antonio Maceo and QuintÃn Banderas both during and after the war.Â Creole depictions of Antonio Maceo regularly noted that he was the revolutionary leader who held most black popular support, and some among the white revolutionary leadership voiced the fear that he would declare himself âa black dictator,â following the example of Haitians military chiefs of state. In any case, what most interests me is that the Haitian Revolution was a central point of reference for RamÃ³n E. Betances, and that Betancesâ understanding of brotherhood â an understanding informed by the experience of Freemasonry â was of fundamental importance to the construction of radical forms of political solidarity in the circum-Atlantic. III. Technologies and affective politics RamÃ³n E. Betances arrived in New York in 1869, just one month after the foundation of the Republican Central Junta of Cuba and Puerto Rico with its Cuban president JosÃ© F. Lemus and its Puerto Rican secretary JosÃ© F. Basora (SuÃ¡rez-DÃaz, El Antillano, 161).Â While in exile in New York, Betances published and translated a number of works intended as political propaganda.Â In the Atlantic world at the turn-of-the-century, the practice of translation and the circulation of printed propaganda were essential elements in the creation of a charismatic form of affect in politics.Â Because visual media technologies were less central to politics than they are today, political culture was much more dependent upon the efficient command of the word, whether it be in oratory or incendiary pamphlets.Â Betancesâ dominion over the print technologies of politically-incendiary speech is evident in his most well-known pamphlets. Among these are the tracts he sent from St. Thomas, including the famous âLos 10 mandamientos de los hombres libresâ / âThe Ten Commandments of Free Men.â In all these pamphlets, Betances makes ample use of capital letters, bold-face type, different fonts and exclamation points.Â While in New York, he translated abolitionist speeches by Wendell Phillips and several political writings by French author and educator Edouard de Laboulaye, including El partido liberal, su progreso y su porvenir (1869).(19) Many of these translations were either published in newspapers or circulated informally among the exiled communities. One entry from the newspaper La RevoluciÃ³n made this reference to Betancesâ translation ofÂ Phillipsâ speech on Toussaint LâOuverture: "the translation has been published using elegant print in a handsome pamphlet which will be distributed at no cost to Cubans and Puerto Ricans. We strongly encourage this fortifying reading which records the acts, thoughts and feelings of the great man from the Ethiopian race" (authorâs translation, SuÃ¡rez-DÃaz, El Antillano 163).Â For affective politics, there needs to be a performance to create a âfortifiedâ experience. Betances saw reading and active listening as essential tasks of the community, but understood himself to be the medium for the message.Â He believed that Toussaint, as a representative of the âgreat Ethiopian race,â could serve as a symbol of political greatness to Cubans and Puerto Ricans alike, his life exemplifying how unity among blacks could not only empower black military leaders, but also unify the discordant elements of a society in order to struggle and ultimately attain the ultimate goal: independence.(20) Betancesâ speeches helped create an affective form of politics, since he composed his discourses with the clear intention of reading the words to an audience. In this essay on PetiÃ³n, Betances conflates the biographical details of PÃ©tionâs life (presented as the tale of a self-made Freemason: a natural son and a humble but virtuous artisan who rises to become a marvelous military leader and independent thinker), with the revolutionary history of events in Haiti.Â He compares the activism of Vincent OgÃ©(21) within the sessions of the French Assembly in 1789 to the ineffective posturing within the Spanish legislature, where deputies âlike Becerra, discuss the colonyâs assimilation to the metropolis, and others like Romero Robledo demand the annulment of reforms, while still others, like the republican E. Castelar, who for patriotic reasons, stopped talking about Santo Domingo altogetherâ (SÃºarez DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 84).(22) Here then, in an important geopolitical maneuver: Betances uses OgÃ©âs example to criticize reformist politics in Cuba and Puerto Rico, insisting upon the emptiness of a language that merely âannounces the vertigo of tyranny and the birth of a free nationâ (SuÃ¡rez-DÃaz, 84-5). Betances first read this speech as a lecture in a Masonic lodge in Jacmel, Haiti in 1870, but its primary intent was to warn Cuban revolutionaries about the similarities between the Haitian and Cuban revolutions and to advance the causes of slave abolition and independence for Cuba and Puerto Rico. The text of the essay offers ample evidence of the technologies Betances used to reach out to diasporic political networks. The practices of translation, biculturalism, bilingualism, and what Brent Edwards-Hayes has referred to as pan-ethnic identification, are all apparent in this document, along with the discourse of race and racialization.Â When he first gave the lecture to fellow Freemasons in the Francophone-KrÃ¨yol audience, Betances delivered the speech in French; a year later, in 1871, he would translate it into his native Spanish and have it published in New York City. Clearly, Betances was using the example of Haiti as part of a political strategy. Unlike the many revolutionary Cubans in the 1870âs who were afraid to admit similarities between Cuba and Haiti, Betances underscores the parallels in his essay on PÃ©tion.Â The essay responds to the arguments made by Cubans that Haiti offers only a negative example of the excessive use of force by black and mulatto leaders and the resulting political abandonment by powerful nations. Betances counters this argument by insisting on the idea of Haiti as a nation whose radical history achieved a model of strength and revolutionary leadership for Latin America and the Caribbean. While agreeing that abuses of political power were carried out by leaders like Christophe and Dessalines, he reminds his readers-listeners of the existence of a Haitian statesman like Alexandre PÃ©tion who could be held up as a paragon of republican leadership.Â Haitian forms of constitutional state formation are central to Betancesâ arguments regarding the ideal forms of government for future Caribbean republics. What distinguishes his radical writing within the âCuba Libreâ movement is his use of Haiti as a central metaphor for the need for slave abolition in the Spanish Caribbean. That is, Betances not only embraces the Haitian Revolution as a political metaphor to advance an independence agenda for Puerto Rico and Cuba; he also identifies and interprets Alexandre PÃ©tion as the figure who best embodies the will of the people. If from the perspective of the white Creole classes of Spanish America, the dialogue with Haiti is always informed by a âfear of blacknessâ or âmiedo al negro,â Betances, in contrast, champions African blood and racial mixture as the embodiment of sacrifice and the quest for freedom: [T]he African blood from these sons of the desert, just like the Latin blood from the French, ended up planting the seeds of freedom in American soil; a freedom which the United States denied for so many years, and which Spain continues to deny, to that race which is capable of so much sacrifice. The more oppressed a nation is, the more blood is required to conquer its freedom.Â As opposed to the Puerto Ricans, who remain silent and complacent, Cuba is proving to the whole world the reality of this formidable, yet indispensable principle: âthe ignominy of tyranny can only be washed away with manâs blood; only through effort and sacrifice, can we, as men, take back from heartless hands the independence of the fatherland. (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud, 82).(23) Later in his essay, Betances explores the many episodes within the history of the Haitian Revolution, detailing the terms of what Michel Rolph-Trouillot would call âthe war within the warâ; that is, the internal conflicts that characterize any revolution.Â Here Betances emphasizes PÃ©tionâs political acumen over and above his recognized military genius, for he made himself into a statesman able to unify the many dissident forces within the Revolution. The result was âpure politics, human, democratic, and pacifying; [a politics] which, luckily, has become a tradition in Haiti and whose glorious representative is PÃ©tion.â (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 97).(24) In recalling the famous meeting between PÃ©tion and SimÃ³n BolÃvar, Betances equates the Haitian president, and indeed the Haitian nation, with ongoing revolutionary struggles in Latin America and the Caribbean.Â Although Betances and some Puerto Rican radicals expressed support for PÃ©tionâs use of land reform and his projects for social justice, this kind of socio-economic agenda was not supported by most white Creoles and certainly not by all Cuban radicals, many of whom were advocating annexation to the United States rather than outright independence. Among Puerto Rican abolitionists, however, who tended to be much more radical than the planter elites of Western Cuba (Ãlvarez, Silvia), PÃ©tionâs agrarian reform became a salient revolutionary example. Betances writes in his essay: PÃ©tionâs agrarian reform, distributing land to all, from the most humble soldiers to the most distinguished founders of independence, created a democratic republic of Haiti, converting a bloody horde bewildered by the clashing din of so many battles, into a nation of small property owners, all of whom can see in their homes, the fatherland, their interest in order, and the freedom and glory in the salvation of their nationality. (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 103).(25) Throughout his discussion of agrarian reform, Betances places the Puerto Rican slave and freed populations at the center of his discussion, but also offers Cuba a possible alternative to its problem of slavery.Â He locates the land and the landed peasant, or campesino, at the center of his imaginary; the Puerto Rican jÃbaro and the Dominican montero are central to his definition of the nation. Moreover, in evoking the models of Haiti and PÃ©tion, Betances not only articulates an Afro-Diasporic and black imaginary of Caribbean nationhood; he also ties that image of nationhood to a particular notion of masculinity.Â Betancesâ gendered image has much in common with Dominican Pedro F. BonÃ³âs masculine image from the 1856 novel El montero, wherein the montero, identified with nature and the land, becomes the source of national culture.Â For many Creole writers, this model also corresponded to the guajiro of the eastern provinces of Cuba, birthplace of the Grito de Yara (1868).(26) Betances also uses PÃ©tion as an example of an effective statesman and military leader with a keen understanding of the dangers to Caribbean nations posed by imperial economic policies. Speaking to a Masonic audience in Port au Prince, Haiti, in the 1860âs, Betances warns about a new danger to the Caribbean islands in the emerging imperialism of the United States and the subsequent threat of U.S. military intervention. He observes that what started as the U.S. government negotiating with Dominican dictator Buenaventura BÃ¡ez for the sale of SamanÃ¡ Bay in the Dominican Republic, led to further talks about the U.S. purchasing an extensive area in the eastern Caribbean, including the islands of Culebra, Puerto Rico and the harbor of St. Nicholas in the northeastern part of Haiti.(27)Â In Betancesâ words: The Antilles are facing a moment they have never faced before in history; they now have to decide whether 'to be, or not to be'. We reject this troubling proposal. Now is the precise moment for us to present a united defensive front.Â Let us act as one in order to ensure our own survival.Â In vain will an impious dictator attempt to trade away his nation at the expense of his fellow citizens, as was the case in Santo Domingo; of no use will it be for Spain to try to placate Cubaâs insurrection by selling the island to the United States and thus beginning the process of all the Antilles being absorbed by the Anglo- Saxon race. Let us unite. Let us love one another. Together let us build a society of true Freemasons, and only then will we be able to build a temple with foundations so solid that not even the united force of the Saxon and Spanish races will be able to shake them; a temple that we will consecrate to Independence, and on whose frontispiece we will engrave this inscription, as imperishable as the Motherland itself: âThe Antilles for the Antilleansâ.Â (Ojeda FÃ©lix, El desterrado de ParÃs 192-93). In this passage, Betances forges a new ethic of Masonic radical brotherhood in conjunction with love, unity and transnationalism.Â Betancesâ urging of his fellow citizens to struggle against, âthe Antilles being absorbed by the Anglo- Saxon raceâ was also a call to build a temple, âwith foundations so solid that not even the united force of the Saxon and Spanish races will be able to shake them.âÂ The templeâs entrance will present a definitive inscription: âThe Antilles for the Antilleans,â a phrase that continues to resonate within the contemporary histories of circum-Caribbean nations subject to the ongoing processes of U.S. and European imperialism. Betances makes this perspective apparent in the PÃ©tion essay by calling for new understandings of âhumanityâ; ones that will recognize the âhumanâ element in societies which have been enslaved and subjected to the dynamics of colonialism (Maldonado-Torres, Against War).Â Haiti is the site from which this historical struggle for humanity begins. For Betances, the future of the Spanish Caribbean, and particularly of Cuba and Puerto Rico, depend on a collective understanding of the historical and political realities of colonialism.Â After 1898, the military and imperialist supremacy of the United States became a defining factor in the nationalist histories of Puerto Rico, Cuba and Hispaniola. The discourse of liberty and nationhood subsumed the radicalism of the black-mulatto solidarities that had flourished within the transnational and Afro-diasporic-Masonic networks.Â JosÃ© MartÃ died in Dos RÃos in 1895, Betances died in Paris in 1898, and Eugenio MarÃa de Hostos became a member of the Puerto Rican Commission (along with other political leaders like Dr. Julio Henna and the novelist Manuel Zeno GandÃa), arguing before the U.S. Congress in 1900 to clarify Puerto Rican political status as an âunincorporated territoryâ of the United States (Arroyo, âLa figura del criminal,â 55). Just as Cuba was subjected to U.S. control under its new constitutionâs Platt Amendment (1902), the âinsular casesâ of Puerto Rico, the Philippines, Guam and the Marshall Islands came under the control of a new, U.S.-based, imperial geo-politics.Â Ultimately, this new imperial order would redefine the nature of military intervention, oppression and human warfare (Spears).Â It relied anew on race as its organizing principle, enacting segregating civic, commercial, and military codes in its âcivilizing missionâ and marking the global supremacy of the Anglo-Saxon race over the descendants of the Latin races. What happened to the radical transnational/trans-racial alliances of the Masonic brotherhoods once the urgency of war dissipated and new neocolonial states were configured under the U.S. empire?Â Although transnational networks based on Masonic rituals and official activities did continue, the emergence of new nations and neo-colonial states with strong ties to the U.S. weakened Masonic political affiliations in favor of memberships in local and national political parties. Great Worshipful Master Santiago R. Palmer, an earlier supporter of independence before 1898, embraced U.S. intervention in the island, as many radical political leaders did, with the hope that independence would be granted after a few years. Nevertheless, The Gran Logia Soberana (Great Sovereign Lodge), founded by Palmer and others in 1885, shifted its pro-independence status to forms of non-partisan neo-colonial negotiation. This role made of the Great Sovereign Lodge a bridge between Freemasons in the United States and Latin America. In fact, in September 1922, the First Inter-Antillean Masonic Congress (Primer Congreso MasÃ³nico Interantillano) was held in San Juan, Puerto Rico, with delegates from Venezuela, Cuba and the Dominican Republic. The Congress had been convened to discuss the end of World War I, and most importantly, the U.S. military occupations of Haiti (1915-1934) and the Dominican Republic (1916-1924). In an inaugural address exalting the themes of Pan-Americanism, fraternal love, and a new humanism, Puerto Rican Great Worshipful Master Luis MuÃ±oz Morales noted that the idea for the congress had first come up in a 1920 discussion among delegates regarding the role of Freemasonry and political sovereignty in the Dominican Republic, and in particular, whether the nation should become an affiliate of the International Masonic Federation of the League of Nations (MuÃ±oz Morales, âCongreso MasÃ³nico Interantillanoâ 30). That discussion ended with a proposal to hold the congress in Puerto Rico. By 1948, regional politics would divide the Great Sovereign Lodge of Puerto Rico, as those Freemasons who argued âunsuccessfully- for the Great Lodge to pronounce itself against U.S. colonialism split off to found the Great Eastern National Lodge. This split occurred at a critical conjuncture in Puerto Rican history, when mass support for Pedro Albizu Campos, a Masonic member and President of the Nationalist Party, divided the country and Albizu called for revolutionary armed struggle. Seven years later, four Puerto Rican nationalists would use armed force to assault a public meeting of the U.S. House of Representatives, a confrontation used by U.S. officials to create the image of Puerto Ricans as terrorists and to increase U.S. political repression on the island.Â By that time, in accordance with its conservative and apolitical reputation, the Great Sovereign Lodge had become an organism for the international dissemination of Puerto Rican arts and cultural rituals, a far cry from the vehicles of radical politics that Creole-based Puerto Rican lodges had been at the turn of the century.(28) As Eduardo Torres-Cuevas has demonstrated, Freemasons also played a protagonist role in Cuban politics during the first decades of the republic, most notably when they helped overthrow the Machado dictatorship in 1933.Â In fact, it was the Great Lodge of Cuba that obliged Gerardo Machado, a Grade 33 Freemason, to step down from the Presidency.Â The Great Lodge of Cuba and the Great Sovereign Lodge of Puerto Rico had strong Masonic connections right up until the triumph of the 1959 Cuban Revolution, after which the connections dissolved.Â The lodges in Puerto Rico and the countries of Hispaniola, however, were able to maintain their political and economic ties. The Puerto Ricans who migrated to the Dominican Republicâmostly during the sugar cane boom of the 1920sâhelped to cement these ties and form part of the broader history of worker mobilization in the West Indies and Caribbean that characterized the period.Â As for Haiti, the U.S. invasion of 1916 and the institutionalization of Rafael Trujilloâs antihaitianismo politics led to the increased social and economic isolation of the black republic from the political projects of the Spanish Caribbean.Â Clearly the turn-of-the-century Masonic brotherhoods connecting Puerto Rican, Dominican and Haitian intellectuals like RamÃ³n E. Betances, Antenor Firmin, Pedro F. BonÃ³, and Eugenio M. de Hostos were a product of their historical moment, when the urgency of the struggle for liberty and independence fueled the possibilities for an Antillean Confederation. Although we see their limitations when we read these projects from within the teleological, masculine and class-based alliances that typified liberal nation building projects at the turn of the century, it is also true that the Masonic political leadership of RamÃ³n E. Betances and his radical political views are the elements that made these coalitions possible.(29) Notes 1. This essay is adapted from chapter IV of my book, Writing Secrecy: Technologies in Caribbean Freemasonry (forthcoming by University of Texas P, 2011). I am grateful for the comments of colleagues at the TepotzlÃ¡n Institute for Transnational History for the Americas (2008, 2010), Robyn Derby, Elliott Young, David Sartorious, Micol Seigel, Yolanda MartÃnez-San Miguel, Jorge Giovanetti, David Kazanjian, and Nora GÃ¡mez for all their comments. Translations and editing by Barbara Corbett and Roger Gathman. 2. âAcogieron con igual beneplÃ¡cito aunque con cierta extraÃ±eza, la condiciÃ³n expuesta por su autor de que se respetara el derecho al secreto y no se revelaran las respuestas a menos que fuesen descubiertas [â¦] Vagamente alarmado, el cura no pudo dejar de pensar que aquello empezaba a parecerse a una ceremonia de masones.â See Ana Lydia Vega, âEl tramo de la Muda.â Encancaranublado y otros cuentos de naufragio. (RÃo Piedras: Editorial Antillana, 1990. 115-28). 3. This is clear in Eugenio MarÃa de Hostosâ novel La peregrinaciÃ³n de BayoÃ¡n (1863) where Haiti is only mentioned in a small passage and political solidarities are represented in the role of the three Spanish-Caribbean islands, Cuba, Dominican Republic and Puerto Rico. 4. See Ginetta Candelario, Black Behind the Ears (Durham: Duke UP, 2008); and Silvio Torres Saillant, âThe Tribulations of Blackness.â 5. Shirley E.Thompson makes a similar argument in her analysis of famous cases in New Orleans in the 1850s. See Exiles at Home: The Struggle to Become American in Creole New Orleans. (Cambridge: Harvard University Press, 2009). 6. The CÃ©dula de Gracias was a royal decree imposed by Ferdinand VII in August 1815 to sponsor Spanish and European migration to the island of Puerto Rico. The decree was printed in three languages - Spanish, English and French. Free land was offered to the settlers who arrived in great numbers to work and âdevelopâ the island. Immigrants from the Canary and Baleares Islands (Spain), Corsica, Germany and France migrated from Europe and South America to Puerto Rico. As Angel Quintero-Rivera has shown, these immigrants benefited economically and socially from the their white European status. 7. Some of these mulatto proprietors were landowners in Haiti, such as Guillermo Laborda (84 acres) JosÃ© Lecode (32 acres), and Felipe Cabral (29 acres). Some landowners were mulatto or black women, including Maria Malerbe, Maria Apolin Piot, Madame Redoli and Madame Ytier. See Raquel Rosario, Los efectos de la revoluciÃ³n de Saint Domingue y de la venta de la Louisiana en Puerto Rico: las migraciones en la isla. Universidad de Puerto Rico, RÃo Piedras, 1988. 8. This quote is taken from Arturo Morales CarriÃ³n, âPrimeras resonancias de la RevoluciÃ³n Haitiana en Puerto Rico.â Revista del Centro de Estudios Avanzados de Puerto Rico y El Caribe. 1 (julio-diciembre 1985): 191-95. Quoted in HaydeÃ© Reichard de Cancio, âLos dominicanos en Aguadillaâ(http://www.preb.com/geneal/domaguad.htm). 9. Here I am following the main thesis of JosÃ© Buscaglia-Salgado in his book, Undoing Empire: Race and Nation in the Mulatto Caribbean. (Minneapolis: University of Minnesota P, 2003). 10. Wendell Phillips (1811â1884) was an American abolitionist and advocate for Native Americans. He was an exceptional orator and agitator, advocate and lawyer, writer and debater. 11. See the works of Luis Bonafoux, Paul Estrade, FÃ©lix Ojeda Reyes, Ada SuÃ¡rez-DÃaz and literary critic Luis HernÃ¡ndez Aquino in bibliography. 12. As Salvador Brau writes in his Historia de Puerto Rico, âFreemasonry came from Spain to Puerto Rico in 1809, and its print culture, particularly the printing press called âLa Fraternidadâ (located in San Juan and owned by a famous âSon of the Widowâ) started to disseminate Masonic pamphlets and materials. At the same time, the Western towns of San GermÃ¡n, Cabo Rojo and Mayaguez produced many Masonic followers, mostly among immigrants from Santo Domingo and others initiated in St. Thomas. St. Thomas was an flourishing market for French books and authors such as, Florian, Arlincourt, Mad.Cottin, Saint Pierre, Diderot, Holbach, DâAlembert, Rousseau, Voltaire, and Volney, all translated into Spanish in Paris and Bordeaux by Spanish immigrants.â From Salvador Brau, Historia de Puerto Rico. (San Juan: Editorial CoquÃ, 1966). Quoted in Ada SuÃ¡rez-DÃaz, El doctor RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud. San Juan: Instituto de Cultura PuertorriqueÃ±a, 2005 (6-7). 13. See Sybille Fischerâs discussion of the rhetoric of Haitian constitutions in sections 11 âFoundational Fictionsâ and 13 âLiberty and Reason of Stateâ from her book Modernity Disavowed. Haiti and the Cultures of Slavery in the Age of Revolution. (Durham: Duke University Press, 2004). 14. See Aline Helg, Susan Buck-Morss, Matt D. Childs, Eugene Genovese, and Jorge Camacho (In bibliography). 15. Â¿QuiÃ©n habita esta costa? Una raza que prueba que los hombres no tienen color en el espÃritu; que hay una chispa igual en todos, que de todo los hace capaces: los negros han fundado un imperio en este sitio. Â¡Misteriosa justicia! tÃº que estÃ¡s en todas partes. Al infeliz Africano arrancado de sus selvas, y hecho esclavo por la fuerza, le das fuerzas: rompe con ella sus cadenas; el hierro le da armas; las armas, un imperio (62). 16. See JosÃ© MartÃ âLos cubanos en Jamaica y los revolucionarios de HaitÃâ and his chronicle, âA Town sets a Black Man on Fireâ (1892) on the lynching of Ed Towle in Texarkana, TX. 17. Jorge Camacho follows Aline Helg when he points out that MartÃ recreated the myth of the âdebtâ of Cuban blacks to the planter class for their liberation in 1868, to build another myth of freedom related to the freedom of blacks and the independence of the Cuban nation. At the same time, Camacho sees the fallacies of these historical assumptions (as black slaves were not freed in 1868); and in MartÃâs views of the assimilation of the black population through education. See his essay, âEl miedo y la deuda en las crÃ³nicas de Patria de JosÃ© MartÃâ (Quoted in bibliography). 18. See JosÃ© MartÃâs article, âUna orden secreta de africanos,â Patria (April 1, 1893) when he tells the story of TomÃ¡s SurÃ, a seventy year old Afro-Cuban exiled in Key West who learn to read in his old age. JosÃ© MartÃ. Obras Completas. Vol 5. (La Habana: Editorial Ciencias Sociales, 1975. 324-25). 19. Eduardo Renato LÃ¨febre Laboulaye (1811-1883) was a French jurist, writer, and professor of Comparative Legislation at the CollÃ¨ge de France. In 1875 he was elected a life Senator, and in 1876 he was appointed administrator of the CollÃ¨ge de France, resuming his lectures on comparative legislation in 1877. Laboulaye was also chairman of the French Anti-Slavery Society. He is most remembered as the intellectual creator of the Statue of Liberty.Â Always a careful observer of the politics of the United States, and an admirer of its constitution, he wrote a three-volume work on the political history of the United States, and published it in Paris at the height of the politically repressed Second Empire. During the Civil War, he was a zealous advocate of the Union cause. While the U.S. was in the throes of its Civil War (1862 and 1863), Laboulaye published histories of the cultural connections of the two nations. At the war's conclusion in 1865, he had the idea of presenting a statue representing liberty as a gift to the United States, a symbol for ideas suppressed by Napoleon III. The sculptor Frederic-Auguste Bartholdi, one of Laboulaye's friends, turned the idea into reality. Betances probably became familiar with Laboulayeâs writings in France and decided to translate his works because of a shared interest in the abolitionist cause and the treatment of racial politics. Several Latin American men of letters, Domingo Faustino Sarmiento most notably, befriended Laboulaye and supported his ideals. Others who were influenced by Laboulaye were the Chilean VicuÃ±a Mackenna and the Argentinian Lucio V. Mansilla. Mansilla actually translated one of Laboulayeâs most well-known works Paris et America(1863). JosÃ© MartÃ and other Modernista writers were influenced by Laboulayeâs writings, which consist mostly of short stories and poetry. 20. Although RamÃ³n E. Betances was the first Puerto Rican who published a translation of the life and deeds of Toussaint LâOuverture, he was not the only one. From July 22 to August 6, 1887, a nine-part series on Toussaint LâOuverture written by the Barcelona-based Autonomist politician and commercial entrepreneur Antonio CortÃ³n was published inÂ the journal La Revista de Puerto Rico, edited by Francisco Cepeda(II, vol. 34).Â Toussaint LâOuverture died in a French prison after signing a treaty for ruling Haiti under the French. Lieutenant-Governor Romualdo Palacios directed terror campaigns against the leaders and followers of the recently-created Autonomist Party who were accused of conspiracy and being members of secret societies such as âCapÃ¡ Prietoâ and âSecos y Mojados.â La Revista de Puerto Rico was censored by Palacios on October 6, 1887 along with other liberal-autonomist journals.Â The âcomponteâ campaign started in June 1887, just a month before CortÃ³nâs articles were published. Hundreds of citizens were imprisoned and tortured in the galleys of El Morro in Old San Juan and in local prisons in Juana DÃaz, Guayanilla and Aguas Buenas. CortÃ³nâs articles could be read as a critique of the Spanish empire using the figure of LâOuverture as a political symbol for autonomistas. Puerto Rican historians refer to this year as âThe Terrible Year of 1887.â See Antonio S. Pedreira, El aÃ±o terrible del 1887 (San Juan: Biblioteca de Autores PuertorriqueÃ±os, 1935, and Lidio Cruz Monclova, Historia del aÃ±o del 1887 (RÃo Piedras: Editorial UPR, 1958). 21. Jacques Vincent OgÃ© (Dondon, 1750-Port-au Prince, 1791) was a mulatto, descended from a rich family, received his education in Paris, and then entered the service of a German elector. At the beginning of the French revolution, he returned to his native country, where he was elected deputy to the constituent assembly in 1791. He became a prominent member of the club "Les amis des noirs" in Paris, where he interested several statesmen in the cause of the colored populations of the French possessions. When a motion for the enfranchisement of the negroes reached the colonial committee of the assembly. OgÃ© sailed for the United States, procured a supply of arms and ammunition in New Orleans, and landed near Cape Frangais on October 23, 1791 at the head of 250 men. His forces were soon joined by several hundred negroes. At that point, instead of marching directly on the Cape, he sent a message to Governor Peynier. He offered to disarm his troops if the decree of the Constituent Assembly that had partially enfranchised the slaves be immediately put into effect. The negotiations lasted for several weeks, and at the end of that time, Baron de Saint Vincent marched against the rebels, who were routed after desperate actions at Dondon and Grande Riviere. OgÃ© barely escaped with his life and sought refuge on the Spanish part of the island. There he was arrested under orders from Peynier's successor, Count de Blanchelande. On the condition that his life be spared, he was turned over to the French authorities; however, as soon as OgÃ© arrived Port au Prince, Blanchelande broke his word and executed his prisoner (www.famousamericans.net/jacquesvincentogÃ©). 22. Como Becerra, hablan de la asimilaciÃ³n de la colonia a la metrÃ³polis, hubo quien reclamara el aplazamiento de reformas como Romero Robledo, los que como el republicano E. Castelar; dejara de hablar de Santo Domingo, por razones de patriotismo (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 84). 23. que la sangre africana por esos descendientes de los hijos del desierto, vino, como la sangre latina de los franceses, a fecundar, en el suelo americano, la libertad que durante tantos aÃ±os, ha negado los Estados Unidos i que niega aÃºn EspaÃ±a a aquella raza capaz de tantos sacrificios. Es que mientras mÃ¡s oprimido ha sido, mÃ¡s sangre necesita verter un pueblo para conquistar la libertad. Cuba ante los Puerto-riqueÃ±os inmÃ³viles y silenciosos, estÃ¡ probando al mundo la verdad de este formidable, pero imprescindible principio: âsÃ³lo con sangre se lava el hombre de las innominias de la tiranÃa; sÃ³lo por los esfuerzos y del sacrificio, puede arrancarse de manos impÃas la independencia de la patria (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 82). 24. la polÃtica pura, humana, democrÃ¡tica, pacificadora, la que forma por fortuna, tradiciÃ³n en HaitÃ y cuyo glorioso representante es PÃ©tion (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 97). 25. La ley agraria de PÃ©tion; la distribuciÃ³n de tierras asÃ entre los mÃ¡s distinguidos como entre los mÃ¡s humildes soldados y fundadores de la independencia, fijÃ³ en HaitÃ la repÃºblica democrÃ¡tica, e hizo de una horda ensangrentada, y aturdida por el estruendo de tantas batallas, un pueblo de apacibles propietarios que todos ven en sus hogares la patria, su interÃ©s en el orden, la libertad y la gloria en la salvaciÃ³n de su nacionalidad. (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 103). 26. I thank my colleague Robyn L. Derby for this important reference to Pedro F. BonÃ³âs novel and his writings. 27. Las Antillas atraviesan hoy por un momento que jamÃ¡s han atravesado en la historia: se les plantea ahora la cuestiÃ³n de ser o no ser. Rechazamos este dilema. Es este el instante preciso de obrar en una defensa unida. UnÃ¡monos los unos con los otros para nuestra propia conservaciÃ³n. SerÃ¡ en vano que un mandatario impÃo intente traficar con el paÃs, como en Santo Domingo, sacrficando a sus conciudadanos; serÃ¡ inÃºtil para EspaÃ±a que trate de acabar con la insurrecciÃ³n de Cuba vendiendo la isla a los Estados Unidos y dar comienzo asÃ a la absorciÃ³n de todas las Antillas por la raza anglosajona. UnÃ¡monos. AmÃ©monos. Formemos todos un pueblo de verdaderos masones, y entonces podremos elevar un templo sobre bases tan sÃ³lidas que todas las fuerzas de la raza sajona y la espaÃ±ola reunidas no podrÃ¡n sacudirlo; templo que dedicaremos a la independencia, y en cuyo frontispicio grabaremos la inscripciÃ³n imperecedera como la Patriaâ¦ âlas Antillas para los Antillanosâ (Ojeda Reyes, FÃ©lix, El desterrado de ParÃs 192-93). 28. Pedro Albizu Camposâ (1893-1965), who was also a Freemason, received a fellowship from the Aurora Lodge in Ponce to complete his graduate studies at Harvard Law School. He was the first Afro-PuertoRican to graduate from Harvard Law School. For information about the creation of the Gran Oriente Nacional see Carmelo Ruiz Marrero, âLibertad, Igualdad, Fraternidad. El Gran Oriente Nacional PuertorriqueÃ±o.â Claridad,22 de mayo, 1998. 29. This statement also applies to the middle-class constituency of African American (Prince Hall) lodges in the United States. See Maurice Wallace, âAre We Men? Prince Hall, Martin Delaney and the Masculine Ideal in Black Freemasonry 1775-1865,â American Literary History. 9.3 (1997): 396-424. Works Cited Anderson, Benedict. Under Three Flags. Anarchism and the Anti-Colonial Imagination. London: Verso, 2005. Alvarez-Curbelo, Silvia. Un paÃs del porvenir. El afÃ¡n de modernidad en Puerto Rico en el siglo XIX. San Juan: CallejÃ³n, 2001. Appiah, Kwame A. The Ethics of Identity. New Jersey: Princeton UP, 2004. Arroyo, Jossianna. âLa figura del criminal y la ilegalidad del estado en dos novelas del siglo XIX puertorriqueÃ±o: La charca y El negocio de Manuel Zeno GandÃa,â Ariel. (April 1994): 55-85. ---.âTechnologies: transculturations of race, gender and ethnicity in Arturo A. Schomburgâs Masonic writings.â Technofuturos. Critical Interventions in Latina (o) Studies.Â Ed. by AgustÃn LaÃ³-Montes and Nancy Mirabal. Boulder: Lexington Books, 2008, 141-173. Badiou, Alan. Ethics. An Essay on the Uniderstanding of Evil. Trans. by Peter Hallward. New York: Verso, 2002. Betances, RamÃ³n E. Obras Completas. Escritos literarios. Volumen III. San Juan: Ediciones Puerto, 2008. ---.Voyages de Scaldado Recit Recuelli par âEl Antillanoâ Paris: Imp. de G. Balitout, 1888. BonÃ³, Pedro F. El montero. Novela. Santo Domingo: Editora ManatÃ, 1968. Buck-Morss, Susan. âHegel and Haiti.â Critical Inquiry. 26.4 (Summer 2000): 821-865. Camacho, Jorge. âEl miedo y la deuda: el negro en las crÃ³nicas de Patria de JosÃ© MartÃ.â Islas Quarterly Journal of Afro-Cuban Issues 2. 9 (2008): 34-46. Childs, Matt D. The 1812 Aponte Rebellion in Cuba and the Struggle Against Slavery. Chapel Hill: The University of North Carolina P, 2006. CossÃ© Bell, Caryn. Revolution, Romanticism and the Afro-Creole Protest Tradition in Louisiana, 1718-1868. (Baton Rouge: Louisiana UP,1997) Costa Vargas, JoÃ£o H. âGenocide in the African Diaspora.â Cultural Dynamics. 17.3 (2005): 267-290. Cruz Monclova, Lidio. Historia del aÃ±o del 1887. San Juan: Editorial de la Universidad de Puerto Rico, 1958. Cubano-Iguina, Astrid. âVisions of Empire and Historical Imagination in Puerto Rico under Spanish Rule, 1870-1898.â Interpreting Spanish Colonialism. Empires, Nations, and Legends. Albuquerque: U of New Mexico P, 2005. 87-108. Dayan, Joan. Haiti, History and the Gods. Berkeley: U of California P, 1995. ---. The Story of Cruel and Unusual. Boston: MIT Press, 2007. Derrrida, Jacques. A Taste for the Secret. Jacques Derrida and Maurizio Ferraris Eds. United Kingdom: Polity, 2001. Duany, Jorge, Luisa HernÃ¡ndez Angueira, CÃ©sar Rey. El barrio gandul: economÃa subterranean y migraciÃ³n indocumentada en Puerto Rico. Caracas/San Juan: Nueva Sociedad/ Universidad del Sagrado CorazÃ³n, 1995. Estrade, Paul. Solidaridad con Cuba Libre 1895-1898: la impresionante labor del Dr. Betances en ParÃs. RÃo Piedras, Editorial UPR, 2001. Fischer, Sybille. Modernity Disavowed. Haiti and the Cultures of Slavery in the Age of Revolution. Durham: Duke UP, 2004. Fordham, Monroe. âNineteenth Century Black Thought in the United States: Some Influences of the Santo Domingo Revolution. Journal of Black Studies. 6.2 (December 1975): 115-126. Guridy, Frank. âThe Road to Harlem and back to Havana: Situating NicolÃ¡s GuillÃ©n and Langston Hughes in Afro-Diasporic Networks.â Paper presented in Caribbean Counterpoints Conference, UT Austin, March 2005. Delgado Pasapera, GermÃ¡n. Puerto Rico: sus luchas enmancipadoras. San Juan: Editorial Cultural, 1984. Foucault, Michel. Power. The Essential Works of Michel Foucault. Vol 3. Paul Rabinow Ed. New York: New World Press, 2003. Firmin, Antenor. The Equality of the Human Races. Trans. By Asselin Charles. Illinois: U of Chicago P, 2002. GarrigÃ³, Roque E. Historia Documentada de la ConspiraciÃ³n de los Rayos y Soles de BolÃvar. Tomo I y II. La Habana: Imprenta El Siglo XX: 1929. Genovese, Eugene D. From Rebellion to Revolution Afro-American Slave Revolts in the Making of the Modern World. Baton Rouge: Louisiana State UP, 1979. Grosfoguel, RamÃ³n and ChloÃ© S. Georas. âLatino Caribbean Diasporas in New York.â Mambo Montage. The Latinization of New York. Ed. by AgustÃn LaÃ³-Montes and Arlene DÃ¡vila. New York: Columbia UP, 2001. 97-118. ---Nelson Maldonado-Torres, JosÃ© M. SaldÃvar. âLatin@s and the Euro-American Menaceâ: The Decolonization of the U.S. Empire in the Twenty-First Century.â Latin@s in the World-System. Decolonization Struggles in the 21st Century US Empire. Boulder: Paradigm Publishers, 2005. 3-30. Helg, Aline. Our Rightful Share. The Afrocuban Struggle for Equality, 1886-1915. Chapel Hill: The U of North Carolina, 1995. Hostos, Eugenio Ma. La peregrinaciÃ³n de BayoÃ¡n. RÃo Piedras: Editorial Edil, 1981. Lomas, Laura. Translating Empire: JosÃ© MartÃ, Migrant Latino Subjects and American Modernity. Duke, UP (2008). Maldonado Torres, Nelson. Against War. Views from the Underside of Modernity. Durham: Duke, UP. 2008. MartÃ, JosÃ©. âA Town sets a Black Man on Fire.â JosÃ© MartÃ. Selected Writings. Ed and Trans by Esther Allen. New York: Penguin Books,Â 2002,Â 310-4. ---. Diarios. PrÃ³logo de Guillermo Cabrera Infante. Barcelona: Galaxia-Gutenberg Eds. 1997. ---. âEn los Estados Unidos.â Obras completas. Vol.12. La Habana: Editorial Ciencias Sociales, 1975. 131. ---. âLa polÃtica extranjera de Uncle Sam.â Obras completas. Vol 12. 241. Massumi, Brian. Parables for the Virtual. Movement, Affect, Sensation. Durham: Duke UP, 2002. Mirabal, Nancy R. âNo Country but the One We Must Fight For:â The Emergence of an Antillean Nation and Community in New York City. 1860-1901.â Mambo Montage. The Latinization of New York. Ed. by AgustÃn LaÃ³-Montes and Arlene DÃ¡vila. New York: Columbia UP, 2001. 57-72. Ojeda Reyes, FÃ©lix. El desterrado de ParÃs. BiografÃa del Dr. RamÃ³n E. Betances, 1827-1898. San Juan: Ediciones Puerto, 2001. PalmiÃ©, Stephan. Wizards and Scientists. Explorations in Afro-Cuban Modernity and Tradition. Durham: Duke UP, 2002. 1-158. Pedreira, Antonio S. El aÃ±o terrible del 1887. San Juan: Biblioteca de Autores PuertorriqueÃ±os, 1935. Pfeifer, Michael J. âLouisiana lynchingsâ http://academic.evergreen.edu/p/pfeiferm/home.htm. Plummer, Brenda Gayle. âFirmin and MartÃ at the Intersection of Pan-Americanism and Pan-Africanism.â JosÃ© MartÃâs âOur Americaâ From National to Hemispheric Cultural Studies. Jeffrey Belnap and RaÃºl FernÃ¡ndez Eds. Durham: Duke UP, 1998. 210-227. Quijano, AnÃbal. âColoniality of Power and Eurocentrism in Latin America.â International Sociology. 15.2 (2000): 215-232. Quintero Rivera, Ãngel. VÃrgenes, magos y escapularios. ImaginerÃa, etnicidad y religiosidad popular en Puerto Rico. San Juan: CIS, 1998. Reichard de Cancio, HaydeÃ©. âLos dominicanos en Aguadilla. http://www.preb.com/geneal/domaguad.htm. Rosario, Raquel. Los efectos de la revoluciÃ³n de Saint Domingue y de la venta de la Louisiana en Puerto Rico: las migraciones en la isla. Tesis doctoral. Universidad de Puerto Rico, RÃo Piedras, 1988. Ruiz Marrero, Carmelo. âLibertad, Igualdad, Fraternidad. ElÂ Gran Oriente Nacional PuertorriqueÃ±o,â Claridad. 22 de mayo 1998. http://www.geocities.com/CapitolHill/2845/masoneria.htm Schmidt-Nowara, Christopher. Empire and Antislavery. Spain, Cuba, and Puerto Rico, 1833-1874. Pittsburgh: U of Pittsburgh P, 1999. Spears, Bartholomew H. The Insular Cases and the Emergence of American Empire. Lawrence: The UniversityÂ P of Kansas, 2006. Â SuÃ¡rez-DÃaz, Ada. El Antillano. BiografÃa del Dr. RamÃ³n Emeterio Betances, 1827-1898. San Juan: Centro de Estudios Avanzados, 2004. ---.El Dr. RamÃ³n Emeterio Betances y la aboliciÃ³n de la esclavitud. San Juan: Instituto de Cultura PuertorriqueÃ±a, 2005. Thompson-Marshall, Shirley E. Exiles at Home: The Struggle to Become American in Creole New Orleans. Cambridge: Harvard UP, 2009. Torres Cuevas, Eduardo. Historia de la masonerÃa cubana. Seis ensayos. La Habana: Imagen ContemporÃ¡nea, 2004. Torres, JosÃ© G. âApÃ©ndice. Bosquejo histÃ³rico de la masonerÃa en Puerto Rico.â Congreso MasÃ³nico Inter-Antillano, San Juan septiembre 24-26, 1922. San Juan: Gran Logia Soberana de Puerto Rico, Carnegie Library, 1922. Trouillot, Michel R. Silencing the Past. Power and the Production of History. Boston: Beacon P, 1995. Verna, Paul. PetiÃ³n y BolÃvar. Una etapa decisiva en la enmancipaciÃ³n de HispanoamÃ©rica (1790-1830). Caracas: Ediciones de la Presidencia de la RepÃºblica, 1975. Wallace, Maurice. âAre We Men? Prince Hall, Martin Delaney and the Masculine Ideal in Black Freemasonry 1775-1865. American Literary History. 9.3 (1997):Â 396-424. Wood, Amy Louise. Lynching and Spectacle. Witnessing Racial Violence in America, 1890-1940. Chapel Hill. North Carolina UP, 2009.
5858	dbpedia	0	8	https://www.goodreads.com/author/show/1686680.Eugenio_Mar_a_de_Hostos	en	Eugenio María de Hostos	https://images.gr-assets…62p8/1686680.jpg	https://images.gr-assets…62p8/1686680.jpg	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1723667895i/435.jpg", "https://s.gr-assets.com/assets/gr/icons/icon_close_white-dbf4152deeef5bd3915d5d12210bf05f.svg", "https://s.gr-assets.com/assets/facebook/fb-icon-8d74377d3ff4a368f05860c35d8025b2.png", "https://images.gr-assets.com/authors/1316116062p5/1686680.jpg", "https://s.gr-assets.com/assets/nophoto/user/u_25x33-ccd24e68f4773d33a41ce08c3a34892e.png", "https://images.gr-assets.com/users/1259168392p1/2980349.jpg", "https://s.gr-assets.com/assets/nophoto/user/u_25x33-ccd24e68f4773d33a41ce08c3a34892e.png", "https://images.gr-assets.com/users/1647905326p1/4033192.jpg", "https://s.gr-assets.com/assets/nophoto/user/m_25x33-8a3530ed95c3dbef8bf215b080559b09.png", "https://s.gr-assets.com/assets/nophoto/user/u_25x33-ccd24e68f4773d33a41ce08c3a34892e.png", "https://images.gr-assets.com/users/1704768367p1/17621502.jpg", "https://images.gr-assets.com/users/1460868933p1/23190448.jpg", "https://images.gr-assets.com/users/1492715102p1/30888393.jpg", "https://images.gr-assets.com/users/1456297647p1/53017025.jpg", "https://images.gr-assets.com/users/1457406421p1/53492407.jpg", "https://images.gr-assets.com/users/1653979749p1/85203996.jpg", "https://s.gr-assets.com/assets/loading-45f04d682f1e9151cf1e6fb18a1bde21.gif", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1703808380i/5328822._SY75_.jpg", "https://s.gr-assets.com/assets/loading-trans-ced157046184c3bc7c180ffbfc6825a4.gif", "https://s.gr-assets.com/assets/loading-trans-ced157046184c3bc7c180ffbfc6825a4.gif", "https://s.gr-assets.com/assets/loading-trans-ced157046184c3bc7c180ffbfc6825a4.gif", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/book/111x148._SX50_.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1428543444i/25324714._SX50_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1698042418i/3807291._SY75_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1545013931i/43251011._SX50_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1420739210i/24376871._SX50_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/book/111x148._SX50_.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/book/111x148._SX50_.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1677795274i/3842007._SX50_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/book/111x148._SX50_.png", "https://s.gr-assets.com/assets/site_footer/footer_facebook-ea4ab848f8e86c5f5c98311bc9495a1b.svg", "https://s.gr-assets.com/assets/site_footer/footer_twitter-126b3ee80481a763f7fccb06ca03053c.svg", "https://s.gr-assets.com/assets/site_footer/footer_instagram-d59e3887020f12bcdb12e6c539579d85.svg", "https://s.gr-assets.com/assets/site_footer/footer_linkedin-5b820f4703eff965672594ef4d10e33c.svg", "https://s.gr-assets.com/assets/app/badge-ios-desktop-homepage-6ac7ae16eabce57f6c855361656a7540.svg", "https://s.gr-assets.com/assets/app/badge-android-desktop-home-2x-e31514e1fb4dddecf9293aa526a64cfe.png 2x", "https://s.gr-assets.com/assets/facebook/login_animation-085464711e6c1ed5ba287a2f40ba3343.gif", "https://pixel.quantserve.com/pixel/p-0dUe_kJAjvkoY.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=6035830&c3=&c4=&c5=&c6=&c15=&cv=2.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Eugenio María de Hostos", "Gabriela Mora (Editor)" ]	null	About Eugenio María de Hostos: Known as El Ciudadano de América (meaning: The Citizen of the Americas), was a Puerto Rican educator, philosopher, intel...				https://www.goodreads.com/author/show/1686680.Eugenio_Mar_a_de_Hostos	La peregrinación de Bayoán 3.55 avg rating — 42 ratings — published 1981 — 15 editions Moral social 3.53 avg rating — 15 ratings — published 1888 — 34 editions Hostos: Para todos los días 4.83 avg rating — 6 ratings — 3 editions La educación científica de la mujer by Gabriela Mora (Editor) 4.20 avg rating — 5 ratings — published 1993 — 2 editions Meditando 3.75 avg rating — 4 ratings — 3 editions Ensayos 4.50 avg rating — 2 ratings — published 2010 — 8 editions Tratado de moral liked it 3.00 avg rating — 2 ratings — published 1999 Ciencia de la pedagogía: Nociones e historia (Obras completas, Vol. 6, t. 1) (Spanish Edition) it was amazing 5.00 avg rating — 1 rating — published 1991 — 2 editions La tela de araña (Obras completas) 2.50 avg rating — 2 ratings — published 1992 — 3 editions
5858	dbpedia	2	82	http://www.habanaelegante.com/Spring_Summer_2011/Invitation_Arroyo.html	en	Invitation au voyage			[ "http://www.habanaelegante.com/small_logo.jpg", "http://www.habanaelegante.com/portada_button_1b.jpg", "http://www.habanaelegante.com/Labels_Buttons/Invitation_label.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/mason.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/betances2.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/hostos.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Toussaint.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/pierreboyer.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/commune.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/banderagritolares.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/wendell_phillips.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/antonio_maceo.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/josem.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/bug_jargal1.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Firmin.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Frederick_Douglass.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Vodou.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/betances5.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/laboulayefrench.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/vincentoge.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/christophe.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/dessalines.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/bolivar.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/jibaro.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/Gran_Logia_Soberana.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/acampos.jpg", "http://www.habanaelegante.com/Spring_Summer_2011/GLDC.jpg", "http://www.habanaelegante.com/portada_button_1b.jpg" ]	[]	[]	[ "" ]	null	[]	null					null	Revolution in the Caribbean: Betances, Haiti and the Antillean Confederation1 Jossianna Arroyo, University of Texas, Austin They happily supported, although uncomfortably, the condition given by the riddleâs author, to respect the right to secrecy, and that answers should not be revealed unless they were discovered [â¦]Vaguely alarmed, the priest could not stop thinking that this riddle-game started to look like a Masonic ritual. âAna Lydia Vega âEl tramo de la mudaâ 120-121.(2) I. Technologies In the short story âEl tramo de la mudaâ (âThe trail of La Mudaâ) Puerto Rican writer Ana Lydia Vega tackles the relationship between revolution, secrecy and politics in the Puerto Rican nineteenth-century. The protagonist of the story, a well-spoken mulatto, molded on the figure of RamÃ³n Emeterio Betances, accompanies various Peninsular passengers in a horse-carriage. Crossing the trail of La Muda he entertains them with a series of riddles that are telling them clues on where, when and how the 1868 independence conspiracy will begin. Every time they fail a riddle, they need to pay him. As the game progresses and the passengers fail to read all the clues, they end up losing their money. When the passenger exits the carriage, some words, written with his tobacco-stump, appear on the door: âÂ¡GRACIAS POR CONTRIBUIR! CAPA PRIETO y PORVENIRâ (Thanks for your contribution! CapÃ¡ Prieto for the Future!) (126). It is from these words that the group discovers that there is obviously a Creole plan to revolt and that they were tricked to pay for it. CapÃ¡ Prieto was one of the few secret societies involved in the Lares Revolt of 1868. To plan a revolution, secrecy and the âopen secretâ need to coexist. âThe Muteâ (La Muda) allegorizes these links between secrecy and revolution. Betances is the pragmatic leader-activist who playfully tricks them.Â JosÃ© PÃ©rez-Morris identifies CapÃ¡ Prieto as a Masonic lodge. Other historians such as Lidio Cruz-Monclova, argues that although some of these associations used Masonic symbolism, mainly secret codes in letters, and handshakes, they were not Masonic entirely, but used Masonic codes for political purposes.Â The coexistence of both secret societies with revolutionary-pro-independence aspirations and Masonic lodges that supported independence was central to the way politics was articulated in the Spanish Caribbean after 1860. Their role was not always radical, as some lodges were pro-Peninsular, while others used liberal changes to Spainâs imperial politics to move their own Creole definitions of sovereignty for both islands. After 1868, Cubaâs successful Grito de Yara, and the parallel Grito de Lares in Puerto Rico, Masonic lodges and their associates forged a trans-Antillean coalition of forces in which leaders from Haiti, the Dominican Republic, Puerto Rico and Cuba all worked together for similar ends. They all spoke the common language of Freemasonry in their letters, codes and political pamphlets, a language able to facilitate alliances across national borders and ethnic differences. Beginning most notably in the 1860âs and continuing to 1898, Spain declared a âstate of emergencyâ in the Spanish Antilles due to Cubaâs successful insurrection, and Puerto Ricosâ prosecution-exile of conspiracy leaders. This âstate of emergencyâ became commonplace throughout the Caribbean, while the dissemination of technologies of imperial social warfare resulted in new forms of resistance and negotiation. This essay focuses on RamÃ³n E. Betances, the mulatto Masonic leader and ideologue of the Antillean Confederation (ConfederaciÃ³n Antillana) movement.Â In particular, it offers an analysis of Betances trans-Antillean coalitions in this period. It studies Betancesâ little known writings on Haiti and the Haitian Revolution, as well as as explores his connections to the island of Hispaniola as a whole. Haiti exercised an important historical and political influence over the communities of the Spanish Caribbean and Afro-diasporic communities within the United States. My analysis will not only provide the tools needed to garner a new understanding of the radical complexities (both racially and socially) of the ConfederaciÃ³n Antillana (Antillean Confederation) project proposed by Betances and Eugenio MarÃa de Hostos; it will also underscore the foundational character of this project, inasmuch as it created cross-national dialogues and connections within what Frank Guridy has called âAfro-diasporic networks.âÂ It is my contention that JosÃ© MartÃâs critique of race and empire in the late 1890s, a critique that Laura Lomas calls radical trans-Americanism, owes more than is generally recognized to the earlier political languages of Freemasonry wielded by Betances and other leaders, and to the visions of race and politics articulated by such Dominican and Haitian leaders as Antenor Firmin and Pedro F. BonÃ³.Â The internationalist perspective informing the political languages of Afro-diasporic Freemasonry (languages which national histories have generally erased), defined trans-cultural âtechnologiesâ as the critically situated stores of knowledge that enable community formation and political solidarity. While the war in Cuba provided MartÃ with the pragmatic political ideal of a raceless nation, Betances and the earlier leaders of the Antillean Confederation started years earlier to define processes of race and class identification to define forms of political solidarity. Although Hostos sought to erase Haiti as a viable political and social example for the Spanish Caribbean as he makes clear in his novel, La peregrinaciÃ³n de BayoÃ¡n (1863), Betancesâ political dialogues with Haiti suggested the possible formation of new configurations and alliances.(3) Â Clearly these two voices advocated very different, and conflicting notions of nationhood and race; while Hostos defined the nation as the white Creole classes in their struggles and negotiations with local metropolitan powers, Betances appealed to a nation rooted in the tradition of Caribbean radical mulatto/black thought and expressed in the international Masonic-diasporic networks. In this sense, JosÃ© MartÃâs trans-American critiques are clearly a fusion between these two opposing perspectives. By closely examining the biography of RamÃ³n E. Betances as a political-diasporic leader, and more importantly, carefully analyzing his Masonic speeches on Haiti, I hope to reveal the complexities of these trans-Caribbean debates on race and sovereignty. Debates which emerged from their own political context but which continue to be relevant to contemporary discussions about Pan-Latino or Pan-Caribbean solidarities in the United States.Â Betances, a diasporic figure, viewed the island of Hispaniola (Haiti/Dominican Republic) as the historical site from whence the war against imperial Spain could be launched. His writings on Haiti progress from the disavowed yet omnipresent geographies of fear (Fischer), to the utopian longings of black populations throughout the Americas (Mirabal), to the articulation of new political solidarities and forms of government for the Spanish Caribbean. Enmeshed within his use of the Masonic languages of freedom, equality and brotherhood, ideas about race and blackness became central to his visions of governance and political solidarity, especially in regards to the project of the ConfederaciÃ³n Antillana. II. El Antillano RamÃ³n E. Betances, a cosmopolitan yet under studied figure in Puerto Rican Studies, called himself âEl Antillanoâ but lived most of his life in exile.Â Born in Cabo Rojo, Puerto Rico, to Dominican parents, Betances was initiated into Freemasonry in the UniÃ³n Germana lodge, located in the western town of San GermÃ¡n, whose members were subject to the jurisdiction of the Oriente Nacional lodge of Santo Domingo (Torres, JosÃ© G. âApÃ©ndice, Bosquejo HistÃ³rico de la MasonerÃa en Puerto Ricoâ, 234).Â In 1840, shortly after his migrating to the Spanish colony of Puerto Rico with his family, Felipe Betances (RamÃ³nâs father) had had to publicly âwhiten his bloodâ (proving âlimpieza de sangre) in the Cabo Rojo courthouse in order to successfully marry his daughter into a local Creole family. During the trial, Felipe Betances claimed that he belonged to a distinguished family on his motherâs side, and that his fatherâs âBetanzosâ family was widely recognized as âblancos llanos,â a term from the eastern regions of Hispaniola referring mainly to propertyless mulattoes. In the Dominican Republic at that time, black or mulatto property owners were granted privileges as âblancos de la tierra,â but the propertyless âblancos llanosâ did not have the same privileged social standing.(4) Felipe Betances ultimately won his case, not only enabling his daughter to marry into a distinguished white family, but also erasing the mulatto origins of his fatherâs family, that is, until his son RamÃ³n began to reclaim those origins as part of a radical political tradition associated with blackness.Â From the archival transcriptions of the 1840 case, it is clear that in the Spanish Caribbean of Betancesâ day, whiteness was associated with adjectives like âdistinction,â âhonorability,â and ârespectability,â while blackness was generally equated with unknown or disputed origins and âdishonorableâ associations.(5)Â One can clearly observe through the renowned case of Felipe Betances how concepts of blackness in Hispaniola became intertwined with those developing in Puerto Rico, where white immigrants â mainly Jewish, Corsican and Iberian â continued to arrive from Costa Firme (Venezuela, Colombia, Curazao) as a result of the wars of independence and the CÃ©dula de Gracias (1815).(6)Â Whiteness, as well as blackness, were changing and evolving as social signifiers in the early nineteenth-century insular Caribbean. Raquel Rosario has found that the revolution of Saint Domingue and the purchase of Louisiana resulted in a significant migration of families to the southwest region of Puerto Rico.Â Of the many landowners, farm laborers, carpenters, and shoemakers who came to Puerto Rico, Rosario claims that 59% were blacks (87).(7) Several of the families who migrated from Guarico (Saint Domingue/Haiti) established themselves in the western town of Mayaguez, owned acres of land, and even had slaves. Nevertheless, documents identify these families as pardos or mulattoes. In her of study on Dominican and Haitian migration to Puerto Rico dating back as early as 1796 and the Treaty of Basilea, HaydeÃ© Reichard explores the fear of a black slave rebellion in Puerto Rico, or what Governor RamÃ³n de Castro called âthe Haitian syndrome.â The western town of Aguadilla, where many immigrants settled, witnessed one of the several black rebellions that erupted in Puerto Rico after 1795. According to official reports, more than 20 slaves were arrested or killed in Aguadilla, where black rebels rose up âin imitation of the blacks of Guarico, the French colony.â(8) As historians and critics have shown, the meanings of blackness and whiteness began to change on the island of Hispaniola in the wake of Toussaint LâOvertureâs 1801 invasion of the eastern part of the island and the subsequent years of Haitian occupation (1822-1844). While many elite Dominicans rejected Haitians blackness and enacted their sense of social and cultural superiority through appeals to whiteness and Hispanic-Peninsular origins, non-elite Dominicans articulated a socio-political discourse on blackness that centered on the processes of abolition. In November 15, 1821 several frontier towns near the border raised the Haitian flag in a sign of independence. While some elite Dominicans declared their independence from Haiti and named the new nation âThe Spanish Haitiâ or âEl HaitÃ EspaÃ±olâ they also sought alliances with Gran Colombia in South America. Former slaves and political leaders who supported emancipation ally with Jean Pierre Boyer forces to keep the abolition of slavery in all the territory. Thus, competing racial discourses linked whiteness with respectability, social status and Hispanic white-Creole alliances, and blackness with Haiti, revolution, abolitionism and anti-slavery politics. Betancesâ political solidarities with blackness and with Haiti were clearly different from the affiliations of his fellow colleagues in the Antillean Confederation who hailed from other islands of the Spanish Caribbean, like Eugenio M. Hostos. My own view echoes JosÃ© Buscagliaâs important insight, that mulatto-solidarities in the Spanish Caribbean offer important political strategies to anti-imperial politics.(9) One could argue that Betancesâ more inclusive views of blackness emerged from the exigencies of the particular historical conjuncture during which he was writing. Raised in a liberal family, RamÃ³n E. Betances became involved from an early age with abolitionist, antislavery and Masonic radical discourses of independence in Puerto Rico. While in medical school in Tolouse, France, young RamÃ³n witnessed the 1848 Commune uprisings and thereby received first-hand instruction on the languages of revolution and social utopianism (i.e. Saint Simon and Blanqui).Â It was during his years in France that he arranged to marry his second cousin, Carmen Henry. However, after traveling from Cabo Rojo to Paris, his betrothed cousin became gravely ill and died just two weeks before the wedding was to take place. Betances returned to Puerto Rico with Carmenâs casket, buried the body in a cemetery in Cabo Rojo, and spent the following days and weeks at her burial site.Â For the rest of his life, he neither married nor lived with any woman, deciding instead to dedicate his life to medicine and politics.Â He would practice medicine in Mayaguez and Cabo Rojo, helping slaves and the poor black and mulatto populations during the cholera plague. Eventually, he began to free slave children presented to the baptismal font, a practice that offered the first evidence of his being a activist and âsocial agitator.â After the failure of the Grito de Lares in September 1868, Betances went into political exile in other parts of the Caribbean, Venezuela, the United States and finally France. After brief periods of exile in St. Thomas, Venezuela and New York, Betances moved to Jacmel, Haiti, where he spent the next five years (1870-1875).Â As a doctor, political mediator and eventually a delegate in the Cuban Republican Party, he was able to befriend a wide array of politicians, intellectuals and common folk. The Betancesâ family had a long political history with Haiti, centered on the defense of Dominican nationalism and sovereignty. Betancesâ grandfather participated in the 1844 âTrinitaria Movementâ ousting then-president Boyer and ending the Haitian occupation of the Dominican Republic. Twenty years later RamÃ³n E. Betances, worked in a political coalition with Haiti during the Restoration War of the 1860âs.Â Haiti played a key supportive role in the effort to prevent Spain from ârestoringâ the Dominican Republic to colonial status, and it was during this juncture that Betances emerged as a key conciliatory figure between the anti-colonial movements on the island of Hispaniola and those in Cuba and Puerto Rico. For Betances, republicanism was linked to abolitionism and the glorification of Haitian leaders such as Toussaint LâOuverture.Â In 1869, Betances translated U.S. abolitionist Wendell Phillipsâ essay âToussaint LâOuvertureâ into Spanish and published it in the form of a political pamphlet entitled Toussaint LâOuverture: Discurso de Wendell Phillips. Traducido del inglÃ©s por un Puerto-riqueÃ±o.(10)Â Around the same time he wrote an essay entitled A Cuba Libre: Ensayo sobre Alejandro PetiÃ³n, which he published in New York. Betances relied in his writings upon the politics of translation as a strategic technology for ethnic crossovers and Pan-Caribbean affiliation.Â Historians, who have been mining archives throughout the Atlantic in an effort to recover the entire body of Betancesâ journalistic, literary and political writings in Spanish, English and French, remain perplexed by the quality, clarity and intelligence of his political views.(11)Â Masonic writing at the turn of the century fell into three main areas: 1) writings related to the history of Freemasonry, covered mostly by Masonic historians or brothers who held positions as Lodge Secretaries; 2) writings related to the lodge business, both international and local (international meetings, Masonic laws, irregular or new lodge chapters), mostly composed by Grand Masters or Secretaries holding international positions; and 3) political writings of Masonic oratory or speeches, which in the case of Creole lodges, are characterized by revolutionary language.Â Of these three kinds of writings, Betances is most identified with the third; for he was a political lobbyist and strategist who used his Masonic alliances to organize secret political missions.Â In this sense, his role was similar to the one exercised by JosÃ© MartÃ and Antonio Maceo within their respective exiled communities in Key West, New York, Costa Rica and Jamaica.Â That is, he was an orator, and his most important contributions to Freemasonry â at least from the perspective of the historical documents â were the speeches he wrote which were to be read and performed at Masonic lodge tenidas or weekly meetings.(12) Referred to as âel desterradoâ (âthe landless oneâ) by his main historical analyst and biographer FÃ©lix Ojeda Reyes, Betances truly embodies a circum-Atlantic diasporic identity.Â Having lived for years in exile, first as a student in France and then in St. Thomas and eventually France, Betances was accustomed to discussing Toussaint LâOuverture, Alexandre PÃ©tion, and the other leaders of Haitian Independence. More than other intellectuals from the Spanish Caribbean, Betances was culturally and politically connected to the histories of Hispaniola. Because of his paternal ancestry, his political and familial connections to the island remained strong.Â His writings offer evidence of the support he gave to Gregorio LuperÃ³n during the Restoration War, and in this sense, Betances was one of the few intellectuals from the Spanish Caribbean who advocated an open and respectful relationship between the bordering nations of Hispaniola. He was a political ally of both the Dominican Republic and Haiti, and he argued fervently that the Dominican Republic and other nations of the Spanish Caribbean needed to learn from Haitiâs constitutional example and revolutionary solidarity, as well as from its political divisions and mistakes. A familiarity with French history, culture and language was not only a natural consequence of Betancesâ life in exile; it also became the strategic location from which he most frequently articulated his political arguments.Â As the leading figure of the Cuba Libre movement among exiled communities in Paris from the 1870s to the 1890s, Betances relied upon French as his language of communication, writing and translation.Â He worked as the editor of the journal Republique Cubain, and authored many books and letters related to the revolutionary effort. Understanding the context in which Betances produced his French writings, and his subsequent essay on Alexandre PÃ©tion, is essential; for in these essays, he manages to weave together into one history a series of histories that national narratives generally isolate from each other, including the French Commune, Haitian independence (1804), the colonial histories of Puerto Rico, Cuba, and Hispaniola, and the triangular relationship between these colonies, Spain, and the United States. To escape the censorship and vigilance of the Spanish colonial establishment, to acquire passports and licenses to travel, to relocate from country to country, and to repeatedly change residences (New York, St. Thomas, Venezuela), Betances had to rely upon connections within the transnational Masonic brotherhood as well as within the U.S. and British embassies. Like other revolutionary leaders at the turn-of-the-century (and even today), Betances learned at an early age to take advantage of geopolitical conflicts and imperial rivalries within the Caribbean Basin.Â Central to his political technologies were the negotiations he carried out with spies, double-agents and ministers, all arranged through the secret rituals and codes of his Masonic alliances. Ada SuÃ¡rez DÃaz has suggested that, for nationalist historians in Puerto Rico, one of the most perplexing tasks is to make sense of Betancesâ reliance upon U.S. or British consulate protection to escape troublesome exiles or arrests. For Betances, a technology like the language of transcultural agency escapes the limits of hegemonic nationalist affiliation, for it can only be deciphered through diasporic connections or acts of political and social defiance articulating a modern double consciousness. Betances identified this modern stance with the body; a body which â like all colonial subjects â is fragmented, tortured, exiled, and condemned to barrenness; a body which translates the nexus between the local and the universal into the means of overcoming social death, or in other words, a means of survival.Â III. Haiti and the ConfederaciÃ³n Antillana One of the main problems for scholars like myself, who examine social thought in the Spanish Caribbean in relation to the processes of racialization and diaspora, involves two related questions: why did radical thinkers such as JosÃ© MartÃ and Eugenio MarÃa de Hostos turn their backs on Haiti in the 1880s and 1890s; and how did they manage to construct discourses in favor of racial and gender equality while at the same time erasing or disavowing Haiti?Â Haiti was the first nation in Latin America to abolish slavery and the only republic that constitutionally declared all of its citizens black.(13)Â Obviously, the nation of Haiti and the Haitian people as a whole paid a high price for that declaration. For many historians, the answers to the two aforementioned questions are political and strategic in nature.(14) Â By the 1890s, the Haitian nation had finally been recognized by the U.S. but was wracked by civil war and divided by race-based partisan politics (black vs. mulatto).Â Even as JosÃ© MartÃ embraced the national unity of the races in Cuba in his famous Manifesto de Monte Cristi (so named for the town on the border between Haiti and the Dominican Republic where MartÃ signed the manifesto, a border zone that remains contested to this day), Haiti was far from a politically stable nation, divided both by competing U.S. and European economic interests and by ongoing strife between mulattos and blacks. As early as the 1860âs, sociologist Eugenio MarÃa de Hostos had warned of the âdanger of Haiti,â discouraging its adoption as a political model for projects of decolonization in the Spanish Caribbean.Â In a political novel from this period entitled La peregrinaciÃ³n de BayoÃ¡n (1863), Hostos presents the story of three characters âBayoÃ¡n, MariÃ©n and Guarionexâ who symbolize, respectively, the islands of Puerto Rico, Cuba and Santo Domingo. From the outset of the novel, it is clear that Hostosâ references to Santo Domingo correspond to Hispaniola (present-day Dominican Republic and Haiti), the first Spanish colony in the Americas.Â Â In a journey undertaken by BayoÃ¡nâa journey that is both a recollection and a critical reversal of Christopher Colombusâ first voyageâBayoÃ¡nâs ship touches down on the coast of St. Nicholas in Haiti, a stop that unravels the following reflection: Who inhabits this coast?Â A race that proves that the spirit of men knows no color; that the same spark exists in all of them:Â the blacks have founded an empire in this place. Mysterious justice! Only you are omnipresent! You give strength to the unhappy African, ripped from his jungles and enslaved by force.Â Use that strength to break his chains: with the iron, he makes weapons; and with weapons, an empire (62).(15) Here Hostos presents a Romantic depiction of Haitians, similar to Victor Hugoâs Bug-Jargal or Rousseauâs noble savage.Â As Susan Buck-Morss has noted in âHegel and Haitiâ, slavery was common metaphor in the discourse of political freedom; and in Hostosâ quote, slaves use their work tools to unchain themselves in a quest for freedom. At the same time, the Puerto Rican sociologist gives a negative connotation to the word âempire,â associating it with violence and domination.Â Justice is âmysteriousâ in the above-cited passage because it gives slaves their freedom, but teaches them to use their tools to create violence. Hostos suggests that civilization in the hands of Africans is tainted by the experience of slavery; the strength that serves to âfreeâ Africans is misunderstood by blacks, who fail to comprehend freedom as âa force of spiritâ in Hegelian terms. The question of the humanity of the slave came to the fore of philosophical and political debates in the wake of the French Revolution, and particularly after Haiti proclaimed its independence in 1804, the first country in Latin America to do so. Â In that context, the slaves considered by classical legal codes to be socially dead, property and non-human had achieved independence, written constitutions and enacted new laws. The geopolitical implications of Haitiâs independence touched and unsettled the language of universal reason (Buck-Morss).Â Â Because âempireâ is a metaphor for expansion, Hostos here is warning against the export of Haitiâs radical revolution, a radical alternative that was not part of his political vision for the Spanish Caribbean.Â In Cuba, however, mired in a revolutionary struggle since 1868, intellectuals like JosÃ© MartÃ saw things differently. As MartÃ notes in his posthumous Diario de CampaÃ±a de Cabo Haitiano a Dos RÃos, the 1895 GÃ³mez expedition in 1895 received support, hospitality and military aid from Haiti.Â In describing the departure of the expedition from Cap Haitien, MartÃ uses a language centered in what Derrida has called the politics of friendship.Â He weaves Spanish together with French and KrÃ¨yol into a poetic language of political brotherhood and solidarity. While in Haiti, MartÃ spent his nights in houses belonging to Haitian Freemasons to whom he would read articles from Masonic journals, local newspapers and encyclopedias by candlelight.Â His visits to Hispaniola also proved fruitful in other ways, as MartÃ made personal contacts that helped him refine his racial theories.Â In many ways, to think about race in Haiti, but also on the lynching of blacks and the segregation on the U.S. south helped MartÃ, as Jorge Camacho forcefully argues, to rethink his views on race in Cuba.(16)Â Camacho sees the duplicity of MartÃâs discourses of âracial fraternityâ in his writings in the 1890s pointing out that MartÃ, recreated these imaginaries to strategically built the political unity of the Cuban exile community.17 In 1893, two years before the GÃ³mez expedition, MartÃ met with black Haitian intellectual Antenor Firmin in the border town of Monte Cristi, where he would write his famous Manifiesto de Monte Cristi.Â Firmin, who had befriended Betances during their exile together in St. Thomas, held long meetings with JosÃ© MartÃ during which they talked about the future of the Caribbean islands and MartÃ heard about Firminâs vision of an Antillean Confederation.Â As Brenda Gayle Plummer points out, Firmin lived most of his years of exile in Paris and was the author of De lâÃ©galitÃ© des races humaines (1885), the only response written by a black intellectual to Gobineauâs infamous essay Lâ inÃ©galitÃ© des races humaines. Firmin was the first black intellectual to become a member of the MusÃ©e de lâhomme in Paris. While a believer in science, Firmin composed his book as a critique of the paradigms of scientific racism, and instead, like Booker T. Washington and other race activists, emphasized the importance of education: But I take enormous pride in knowing that all Black people, those living today and those to come, will read this work and become convinced that their imperative duty is to work hard and to improve themselves in order to wash away the unjust imputations that have weighed upon their race for so long (Preface vvii).Â In preaching educational uplift, Firmin and other writers of his generation failed to criticize the role of structural racism in their respective societies (Plummer). JosÃ© MartÃ, as Firmin, believed in the assimilationist power of education for the black race.(18) This educational uplift model, had to be backed with a change in the structures of economic power, but again, MartÃ did not live to see these changes in Cuba, while Firmin like many African American and mulatto leaders of his time (including Betances), placed his faith in the future of Haiti as the country that would redeem the black race. Â Nevertheless, for MartÃ the Haiti of the 1890s appears as a political role model that Cuba should not follow. In a letter to the Director of the Buenos Aires newspaper La NaciÃ³n (1889) he makes reference to the return of U.S. consul to Hispaniola, ex-slave Frederick Douglass in an unsuccessful mission. About Haiti, he mentions that a U.S. war ship has returned; âcargado de historias de los curas papalois que beben sangre, y del frenesÃ de los bailadores de bambulaâ (âEn los Estados Unidos,â 131); an ironical comment that puts down the consular initiatives of Douglass vis `a vis Haitian âdisorderlyâ or âAfricanizedâ politics. While he stereotypes Vodou, in another article he cricitizes the political interference of the United States in Haitian-Dominican affairs, âNi que pudo explicar la sÃºbita terneza y cuidado exquisito con que, con el pretexto de un tratado falso entre Francia y HaitÃ, mirÃ³ la secretarÃa de Washington los asuntos haitianos?[â¦] y perturbÃ³ a Santo Domingo con la resurecciÃ³n sÃºbita de derecho de una empresa caduca a la BahÃa de SamanÃ¡?â (âLa polÃtica extranjera de Uncle Sam,â 241). From these quotes, we can conclude that these intellectuals turned their backs on Haiti because the country clearly mirrored their own socio-political fears for their nations. Camacho argues African religions or atavistic customsâsuch as AbakuÃ¡ masculine societiesâ were a problem for MartÃ who saw only in the fraternity of war, and in education the future of the republic.Â The realization that Cuba was part of the Caribbean and not a political âexceptionâ became clear to MartÃ in the late 1890s through his contacts with other Caribbean immigrants in the United States. What is clear is that in the 1890s, Haiti continued to be displaced, denied and disavowed in the political, racial, and social maps of the Spanish Caribbean (Fischer). Black Dominicans saw themselves differently from the blacks of Haiti, Puerto Ricans did not recognize themselves poor or black as Haitians, and Cubans abhorred the idea of becoming a black nation governed by blacks. Even as JosÃ© MartÃâs trans-American critique of empire is clearly indebted to the theoretical innovations of the ConfederaciÃ³n Antillana, it is just as clear that contemporary historians have erased the importance of Haiti and Hispaniola as a whole in the intellectual processes of nation-building in the Caribbean. With the exception of historians FÃ©lix Ojeda Reyes, Ada SuÃ¡rez-DÃaz and Paul Estrade, all of whom have insisted upon the importance of Betancesâ transnational and diasporic connections and his advocacy of a broad, Antillean political community, national histories still present narratives of racial democracy in which the whitening of the social and political constituencies plays a central role. The Haitian Revolutionâfeared and erased by most Creole elites in Cuba, Puerto Rico, the Dominican Republic, Venezuela, Colombia and Brazilâwas at the center of this social imaginary. In the hands of the Creole elites, it became the basis for the ideology and politics of fear; but filtered through channels of communication and translation like Creole and mulatto Freemasonry and the Afro-Diasporic religions of Vodou, SanterÃa, and AbakuÃ¡, the Haitian Revolution became an ideology of emancipation. From these communicative networks emerged strong transnational-diasporic languages in which the voices of black, mulatto and Creole Freemasons were central.Â At the same time, these Freemasons constructed and renegotiated emancipatory ideologies of freedom along with critiques of old and emerging empires (Spain, U.S.), all the while building solidarity amongst different migrant populations. As early as 1870, Betances understood that including blacks and mulattoes in the Cuban and Puerto Rican independence movements would challenge the established social hierarchies of race and class that colonial slavery had introduced in these societies. As Aline Helgâs work has shown, portrayals of the Cuban struggle for independence as a ârace warâ and âanother Haitiâ created fears among white communities - not only abroad, but also among the same revolutionary white Creoles who directed the movement in Cuba.Â Helg illustrates these fears most clearly in her analysis of the way Creole leaders treated black military officers like Antonio Maceo and QuintÃn Banderas both during and after the war.Â Creole depictions of Antonio Maceo regularly noted that he was the revolutionary leader who held most black popular support, and some among the white revolutionary leadership voiced the fear that he would declare himself âa black dictator,â following the example of Haitians military chiefs of state. In any case, what most interests me is that the Haitian Revolution was a central point of reference for RamÃ³n E. Betances, and that Betancesâ understanding of brotherhood â an understanding informed by the experience of Freemasonry â was of fundamental importance to the construction of radical forms of political solidarity in the circum-Atlantic. III. Technologies and affective politics RamÃ³n E. Betances arrived in New York in 1869, just one month after the foundation of the Republican Central Junta of Cuba and Puerto Rico with its Cuban president JosÃ© F. Lemus and its Puerto Rican secretary JosÃ© F. Basora (SuÃ¡rez-DÃaz, El Antillano, 161).Â While in exile in New York, Betances published and translated a number of works intended as political propaganda.Â In the Atlantic world at the turn-of-the-century, the practice of translation and the circulation of printed propaganda were essential elements in the creation of a charismatic form of affect in politics.Â Because visual media technologies were less central to politics than they are today, political culture was much more dependent upon the efficient command of the word, whether it be in oratory or incendiary pamphlets.Â Betancesâ dominion over the print technologies of politically-incendiary speech is evident in his most well-known pamphlets. Among these are the tracts he sent from St. Thomas, including the famous âLos 10 mandamientos de los hombres libresâ / âThe Ten Commandments of Free Men.â In all these pamphlets, Betances makes ample use of capital letters, bold-face type, different fonts and exclamation points.Â While in New York, he translated abolitionist speeches by Wendell Phillips and several political writings by French author and educator Edouard de Laboulaye, including El partido liberal, su progreso y su porvenir (1869).(19) Many of these translations were either published in newspapers or circulated informally among the exiled communities. One entry from the newspaper La RevoluciÃ³n made this reference to Betancesâ translation ofÂ Phillipsâ speech on Toussaint LâOuverture: "the translation has been published using elegant print in a handsome pamphlet which will be distributed at no cost to Cubans and Puerto Ricans. We strongly encourage this fortifying reading which records the acts, thoughts and feelings of the great man from the Ethiopian race" (authorâs translation, SuÃ¡rez-DÃaz, El Antillano 163).Â For affective politics, there needs to be a performance to create a âfortifiedâ experience. Betances saw reading and active listening as essential tasks of the community, but understood himself to be the medium for the message.Â He believed that Toussaint, as a representative of the âgreat Ethiopian race,â could serve as a symbol of political greatness to Cubans and Puerto Ricans alike, his life exemplifying how unity among blacks could not only empower black military leaders, but also unify the discordant elements of a society in order to struggle and ultimately attain the ultimate goal: independence.(20) Betancesâ speeches helped create an affective form of politics, since he composed his discourses with the clear intention of reading the words to an audience. In this essay on PetiÃ³n, Betances conflates the biographical details of PÃ©tionâs life (presented as the tale of a self-made Freemason: a natural son and a humble but virtuous artisan who rises to become a marvelous military leader and independent thinker), with the revolutionary history of events in Haiti.Â He compares the activism of Vincent OgÃ©(21) within the sessions of the French Assembly in 1789 to the ineffective posturing within the Spanish legislature, where deputies âlike Becerra, discuss the colonyâs assimilation to the metropolis, and others like Romero Robledo demand the annulment of reforms, while still others, like the republican E. Castelar, who for patriotic reasons, stopped talking about Santo Domingo altogetherâ (SÃºarez DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 84).(22) Here then, in an important geopolitical maneuver: Betances uses OgÃ©âs example to criticize reformist politics in Cuba and Puerto Rico, insisting upon the emptiness of a language that merely âannounces the vertigo of tyranny and the birth of a free nationâ (SuÃ¡rez-DÃaz, 84-5). Betances first read this speech as a lecture in a Masonic lodge in Jacmel, Haiti in 1870, but its primary intent was to warn Cuban revolutionaries about the similarities between the Haitian and Cuban revolutions and to advance the causes of slave abolition and independence for Cuba and Puerto Rico. The text of the essay offers ample evidence of the technologies Betances used to reach out to diasporic political networks. The practices of translation, biculturalism, bilingualism, and what Brent Edwards-Hayes has referred to as pan-ethnic identification, are all apparent in this document, along with the discourse of race and racialization.Â When he first gave the lecture to fellow Freemasons in the Francophone-KrÃ¨yol audience, Betances delivered the speech in French; a year later, in 1871, he would translate it into his native Spanish and have it published in New York City. Clearly, Betances was using the example of Haiti as part of a political strategy. Unlike the many revolutionary Cubans in the 1870âs who were afraid to admit similarities between Cuba and Haiti, Betances underscores the parallels in his essay on PÃ©tion.Â The essay responds to the arguments made by Cubans that Haiti offers only a negative example of the excessive use of force by black and mulatto leaders and the resulting political abandonment by powerful nations. Betances counters this argument by insisting on the idea of Haiti as a nation whose radical history achieved a model of strength and revolutionary leadership for Latin America and the Caribbean. While agreeing that abuses of political power were carried out by leaders like Christophe and Dessalines, he reminds his readers-listeners of the existence of a Haitian statesman like Alexandre PÃ©tion who could be held up as a paragon of republican leadership.Â Haitian forms of constitutional state formation are central to Betancesâ arguments regarding the ideal forms of government for future Caribbean republics. What distinguishes his radical writing within the âCuba Libreâ movement is his use of Haiti as a central metaphor for the need for slave abolition in the Spanish Caribbean. That is, Betances not only embraces the Haitian Revolution as a political metaphor to advance an independence agenda for Puerto Rico and Cuba; he also identifies and interprets Alexandre PÃ©tion as the figure who best embodies the will of the people. If from the perspective of the white Creole classes of Spanish America, the dialogue with Haiti is always informed by a âfear of blacknessâ or âmiedo al negro,â Betances, in contrast, champions African blood and racial mixture as the embodiment of sacrifice and the quest for freedom: [T]he African blood from these sons of the desert, just like the Latin blood from the French, ended up planting the seeds of freedom in American soil; a freedom which the United States denied for so many years, and which Spain continues to deny, to that race which is capable of so much sacrifice. The more oppressed a nation is, the more blood is required to conquer its freedom.Â As opposed to the Puerto Ricans, who remain silent and complacent, Cuba is proving to the whole world the reality of this formidable, yet indispensable principle: âthe ignominy of tyranny can only be washed away with manâs blood; only through effort and sacrifice, can we, as men, take back from heartless hands the independence of the fatherland. (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud, 82).(23) Later in his essay, Betances explores the many episodes within the history of the Haitian Revolution, detailing the terms of what Michel Rolph-Trouillot would call âthe war within the warâ; that is, the internal conflicts that characterize any revolution.Â Here Betances emphasizes PÃ©tionâs political acumen over and above his recognized military genius, for he made himself into a statesman able to unify the many dissident forces within the Revolution. The result was âpure politics, human, democratic, and pacifying; [a politics] which, luckily, has become a tradition in Haiti and whose glorious representative is PÃ©tion.â (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 97).(24) In recalling the famous meeting between PÃ©tion and SimÃ³n BolÃvar, Betances equates the Haitian president, and indeed the Haitian nation, with ongoing revolutionary struggles in Latin America and the Caribbean.Â Although Betances and some Puerto Rican radicals expressed support for PÃ©tionâs use of land reform and his projects for social justice, this kind of socio-economic agenda was not supported by most white Creoles and certainly not by all Cuban radicals, many of whom were advocating annexation to the United States rather than outright independence. Among Puerto Rican abolitionists, however, who tended to be much more radical than the planter elites of Western Cuba (Ãlvarez, Silvia), PÃ©tionâs agrarian reform became a salient revolutionary example. Betances writes in his essay: PÃ©tionâs agrarian reform, distributing land to all, from the most humble soldiers to the most distinguished founders of independence, created a democratic republic of Haiti, converting a bloody horde bewildered by the clashing din of so many battles, into a nation of small property owners, all of whom can see in their homes, the fatherland, their interest in order, and the freedom and glory in the salvation of their nationality. (quoted in SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 103).(25) Throughout his discussion of agrarian reform, Betances places the Puerto Rican slave and freed populations at the center of his discussion, but also offers Cuba a possible alternative to its problem of slavery.Â He locates the land and the landed peasant, or campesino, at the center of his imaginary; the Puerto Rican jÃbaro and the Dominican montero are central to his definition of the nation. Moreover, in evoking the models of Haiti and PÃ©tion, Betances not only articulates an Afro-Diasporic and black imaginary of Caribbean nationhood; he also ties that image of nationhood to a particular notion of masculinity.Â Betancesâ gendered image has much in common with Dominican Pedro F. BonÃ³âs masculine image from the 1856 novel El montero, wherein the montero, identified with nature and the land, becomes the source of national culture.Â For many Creole writers, this model also corresponded to the guajiro of the eastern provinces of Cuba, birthplace of the Grito de Yara (1868).(26) Betances also uses PÃ©tion as an example of an effective statesman and military leader with a keen understanding of the dangers to Caribbean nations posed by imperial economic policies. Speaking to a Masonic audience in Port au Prince, Haiti, in the 1860âs, Betances warns about a new danger to the Caribbean islands in the emerging imperialism of the United States and the subsequent threat of U.S. military intervention. He observes that what started as the U.S. government negotiating with Dominican dictator Buenaventura BÃ¡ez for the sale of SamanÃ¡ Bay in the Dominican Republic, led to further talks about the U.S. purchasing an extensive area in the eastern Caribbean, including the islands of Culebra, Puerto Rico and the harbor of St. Nicholas in the northeastern part of Haiti.(27)Â In Betancesâ words: The Antilles are facing a moment they have never faced before in history; they now have to decide whether 'to be, or not to be'. We reject this troubling proposal. Now is the precise moment for us to present a united defensive front.Â Let us act as one in order to ensure our own survival.Â In vain will an impious dictator attempt to trade away his nation at the expense of his fellow citizens, as was the case in Santo Domingo; of no use will it be for Spain to try to placate Cubaâs insurrection by selling the island to the United States and thus beginning the process of all the Antilles being absorbed by the Anglo- Saxon race. Let us unite. Let us love one another. Together let us build a society of true Freemasons, and only then will we be able to build a temple with foundations so solid that not even the united force of the Saxon and Spanish races will be able to shake them; a temple that we will consecrate to Independence, and on whose frontispiece we will engrave this inscription, as imperishable as the Motherland itself: âThe Antilles for the Antilleansâ.Â (Ojeda FÃ©lix, El desterrado de ParÃs 192-93). In this passage, Betances forges a new ethic of Masonic radical brotherhood in conjunction with love, unity and transnationalism.Â Betancesâ urging of his fellow citizens to struggle against, âthe Antilles being absorbed by the Anglo- Saxon raceâ was also a call to build a temple, âwith foundations so solid that not even the united force of the Saxon and Spanish races will be able to shake them.âÂ The templeâs entrance will present a definitive inscription: âThe Antilles for the Antilleans,â a phrase that continues to resonate within the contemporary histories of circum-Caribbean nations subject to the ongoing processes of U.S. and European imperialism. Betances makes this perspective apparent in the PÃ©tion essay by calling for new understandings of âhumanityâ; ones that will recognize the âhumanâ element in societies which have been enslaved and subjected to the dynamics of colonialism (Maldonado-Torres, Against War).Â Haiti is the site from which this historical struggle for humanity begins. For Betances, the future of the Spanish Caribbean, and particularly of Cuba and Puerto Rico, depend on a collective understanding of the historical and political realities of colonialism.Â After 1898, the military and imperialist supremacy of the United States became a defining factor in the nationalist histories of Puerto Rico, Cuba and Hispaniola. The discourse of liberty and nationhood subsumed the radicalism of the black-mulatto solidarities that had flourished within the transnational and Afro-diasporic-Masonic networks.Â JosÃ© MartÃ died in Dos RÃos in 1895, Betances died in Paris in 1898, and Eugenio MarÃa de Hostos became a member of the Puerto Rican Commission (along with other political leaders like Dr. Julio Henna and the novelist Manuel Zeno GandÃa), arguing before the U.S. Congress in 1900 to clarify Puerto Rican political status as an âunincorporated territoryâ of the United States (Arroyo, âLa figura del criminal,â 55). Just as Cuba was subjected to U.S. control under its new constitutionâs Platt Amendment (1902), the âinsular casesâ of Puerto Rico, the Philippines, Guam and the Marshall Islands came under the control of a new, U.S.-based, imperial geo-politics.Â Ultimately, this new imperial order would redefine the nature of military intervention, oppression and human warfare (Spears).Â It relied anew on race as its organizing principle, enacting segregating civic, commercial, and military codes in its âcivilizing missionâ and marking the global supremacy of the Anglo-Saxon race over the descendants of the Latin races. What happened to the radical transnational/trans-racial alliances of the Masonic brotherhoods once the urgency of war dissipated and new neocolonial states were configured under the U.S. empire?Â Although transnational networks based on Masonic rituals and official activities did continue, the emergence of new nations and neo-colonial states with strong ties to the U.S. weakened Masonic political affiliations in favor of memberships in local and national political parties. Great Worshipful Master Santiago R. Palmer, an earlier supporter of independence before 1898, embraced U.S. intervention in the island, as many radical political leaders did, with the hope that independence would be granted after a few years. Nevertheless, The Gran Logia Soberana (Great Sovereign Lodge), founded by Palmer and others in 1885, shifted its pro-independence status to forms of non-partisan neo-colonial negotiation. This role made of the Great Sovereign Lodge a bridge between Freemasons in the United States and Latin America. In fact, in September 1922, the First Inter-Antillean Masonic Congress (Primer Congreso MasÃ³nico Interantillano) was held in San Juan, Puerto Rico, with delegates from Venezuela, Cuba and the Dominican Republic. The Congress had been convened to discuss the end of World War I, and most importantly, the U.S. military occupations of Haiti (1915-1934) and the Dominican Republic (1916-1924). In an inaugural address exalting the themes of Pan-Americanism, fraternal love, and a new humanism, Puerto Rican Great Worshipful Master Luis MuÃ±oz Morales noted that the idea for the congress had first come up in a 1920 discussion among delegates regarding the role of Freemasonry and political sovereignty in the Dominican Republic, and in particular, whether the nation should become an affiliate of the International Masonic Federation of the League of Nations (MuÃ±oz Morales, âCongreso MasÃ³nico Interantillanoâ 30). That discussion ended with a proposal to hold the congress in Puerto Rico. By 1948, regional politics would divide the Great Sovereign Lodge of Puerto Rico, as those Freemasons who argued âunsuccessfully- for the Great Lodge to pronounce itself against U.S. colonialism split off to found the Great Eastern National Lodge. This split occurred at a critical conjuncture in Puerto Rican history, when mass support for Pedro Albizu Campos, a Masonic member and President of the Nationalist Party, divided the country and Albizu called for revolutionary armed struggle. Seven years later, four Puerto Rican nationalists would use armed force to assault a public meeting of the U.S. House of Representatives, a confrontation used by U.S. officials to create the image of Puerto Ricans as terrorists and to increase U.S. political repression on the island.Â By that time, in accordance with its conservative and apolitical reputation, the Great Sovereign Lodge had become an organism for the international dissemination of Puerto Rican arts and cultural rituals, a far cry from the vehicles of radical politics that Creole-based Puerto Rican lodges had been at the turn of the century.(28) As Eduardo Torres-Cuevas has demonstrated, Freemasons also played a protagonist role in Cuban politics during the first decades of the republic, most notably when they helped overthrow the Machado dictatorship in 1933.Â In fact, it was the Great Lodge of Cuba that obliged Gerardo Machado, a Grade 33 Freemason, to step down from the Presidency.Â The Great Lodge of Cuba and the Great Sovereign Lodge of Puerto Rico had strong Masonic connections right up until the triumph of the 1959 Cuban Revolution, after which the connections dissolved.Â The lodges in Puerto Rico and the countries of Hispaniola, however, were able to maintain their political and economic ties. The Puerto Ricans who migrated to the Dominican Republicâmostly during the sugar cane boom of the 1920sâhelped to cement these ties and form part of the broader history of worker mobilization in the West Indies and Caribbean that characterized the period.Â As for Haiti, the U.S. invasion of 1916 and the institutionalization of Rafael Trujilloâs antihaitianismo politics led to the increased social and economic isolation of the black republic from the political projects of the Spanish Caribbean.Â Clearly the turn-of-the-century Masonic brotherhoods connecting Puerto Rican, Dominican and Haitian intellectuals like RamÃ³n E. Betances, Antenor Firmin, Pedro F. BonÃ³, and Eugenio M. de Hostos were a product of their historical moment, when the urgency of the struggle for liberty and independence fueled the possibilities for an Antillean Confederation. Although we see their limitations when we read these projects from within the teleological, masculine and class-based alliances that typified liberal nation building projects at the turn of the century, it is also true that the Masonic political leadership of RamÃ³n E. Betances and his radical political views are the elements that made these coalitions possible.(29) Notes 1. This essay is adapted from chapter IV of my book, Writing Secrecy: Technologies in Caribbean Freemasonry (forthcoming by University of Texas P, 2011). I am grateful for the comments of colleagues at the TepotzlÃ¡n Institute for Transnational History for the Americas (2008, 2010), Robyn Derby, Elliott Young, David Sartorious, Micol Seigel, Yolanda MartÃnez-San Miguel, Jorge Giovanetti, David Kazanjian, and Nora GÃ¡mez for all their comments. Translations and editing by Barbara Corbett and Roger Gathman. 2. âAcogieron con igual beneplÃ¡cito aunque con cierta extraÃ±eza, la condiciÃ³n expuesta por su autor de que se respetara el derecho al secreto y no se revelaran las respuestas a menos que fuesen descubiertas [â¦] Vagamente alarmado, el cura no pudo dejar de pensar que aquello empezaba a parecerse a una ceremonia de masones.â See Ana Lydia Vega, âEl tramo de la Muda.â Encancaranublado y otros cuentos de naufragio. (RÃo Piedras: Editorial Antillana, 1990. 115-28). 3. This is clear in Eugenio MarÃa de Hostosâ novel La peregrinaciÃ³n de BayoÃ¡n (1863) where Haiti is only mentioned in a small passage and political solidarities are represented in the role of the three Spanish-Caribbean islands, Cuba, Dominican Republic and Puerto Rico. 4. See Ginetta Candelario, Black Behind the Ears (Durham: Duke UP, 2008); and Silvio Torres Saillant, âThe Tribulations of Blackness.â 5. Shirley E.Thompson makes a similar argument in her analysis of famous cases in New Orleans in the 1850s. See Exiles at Home: The Struggle to Become American in Creole New Orleans. (Cambridge: Harvard University Press, 2009). 6. The CÃ©dula de Gracias was a royal decree imposed by Ferdinand VII in August 1815 to sponsor Spanish and European migration to the island of Puerto Rico. The decree was printed in three languages - Spanish, English and French. Free land was offered to the settlers who arrived in great numbers to work and âdevelopâ the island. Immigrants from the Canary and Baleares Islands (Spain), Corsica, Germany and France migrated from Europe and South America to Puerto Rico. As Angel Quintero-Rivera has shown, these immigrants benefited economically and socially from the their white European status. 7. Some of these mulatto proprietors were landowners in Haiti, such as Guillermo Laborda (84 acres) JosÃ© Lecode (32 acres), and Felipe Cabral (29 acres). Some landowners were mulatto or black women, including Maria Malerbe, Maria Apolin Piot, Madame Redoli and Madame Ytier. See Raquel Rosario, Los efectos de la revoluciÃ³n de Saint Domingue y de la venta de la Louisiana en Puerto Rico: las migraciones en la isla. Universidad de Puerto Rico, RÃo Piedras, 1988. 8. This quote is taken from Arturo Morales CarriÃ³n, âPrimeras resonancias de la RevoluciÃ³n Haitiana en Puerto Rico.â Revista del Centro de Estudios Avanzados de Puerto Rico y El Caribe. 1 (julio-diciembre 1985): 191-95. Quoted in HaydeÃ© Reichard de Cancio, âLos dominicanos en Aguadillaâ(http://www.preb.com/geneal/domaguad.htm). 9. Here I am following the main thesis of JosÃ© Buscaglia-Salgado in his book, Undoing Empire: Race and Nation in the Mulatto Caribbean. (Minneapolis: University of Minnesota P, 2003). 10. Wendell Phillips (1811â1884) was an American abolitionist and advocate for Native Americans. He was an exceptional orator and agitator, advocate and lawyer, writer and debater. 11. See the works of Luis Bonafoux, Paul Estrade, FÃ©lix Ojeda Reyes, Ada SuÃ¡rez-DÃaz and literary critic Luis HernÃ¡ndez Aquino in bibliography. 12. As Salvador Brau writes in his Historia de Puerto Rico, âFreemasonry came from Spain to Puerto Rico in 1809, and its print culture, particularly the printing press called âLa Fraternidadâ (located in San Juan and owned by a famous âSon of the Widowâ) started to disseminate Masonic pamphlets and materials. At the same time, the Western towns of San GermÃ¡n, Cabo Rojo and Mayaguez produced many Masonic followers, mostly among immigrants from Santo Domingo and others initiated in St. Thomas. St. Thomas was an flourishing market for French books and authors such as, Florian, Arlincourt, Mad.Cottin, Saint Pierre, Diderot, Holbach, DâAlembert, Rousseau, Voltaire, and Volney, all translated into Spanish in Paris and Bordeaux by Spanish immigrants.â From Salvador Brau, Historia de Puerto Rico. (San Juan: Editorial CoquÃ, 1966). Quoted in Ada SuÃ¡rez-DÃaz, El doctor RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud. San Juan: Instituto de Cultura PuertorriqueÃ±a, 2005 (6-7). 13. See Sybille Fischerâs discussion of the rhetoric of Haitian constitutions in sections 11 âFoundational Fictionsâ and 13 âLiberty and Reason of Stateâ from her book Modernity Disavowed. Haiti and the Cultures of Slavery in the Age of Revolution. (Durham: Duke University Press, 2004). 14. See Aline Helg, Susan Buck-Morss, Matt D. Childs, Eugene Genovese, and Jorge Camacho (In bibliography). 15. Â¿QuiÃ©n habita esta costa? Una raza que prueba que los hombres no tienen color en el espÃritu; que hay una chispa igual en todos, que de todo los hace capaces: los negros han fundado un imperio en este sitio. Â¡Misteriosa justicia! tÃº que estÃ¡s en todas partes. Al infeliz Africano arrancado de sus selvas, y hecho esclavo por la fuerza, le das fuerzas: rompe con ella sus cadenas; el hierro le da armas; las armas, un imperio (62). 16. See JosÃ© MartÃ âLos cubanos en Jamaica y los revolucionarios de HaitÃâ and his chronicle, âA Town sets a Black Man on Fireâ (1892) on the lynching of Ed Towle in Texarkana, TX. 17. Jorge Camacho follows Aline Helg when he points out that MartÃ recreated the myth of the âdebtâ of Cuban blacks to the planter class for their liberation in 1868, to build another myth of freedom related to the freedom of blacks and the independence of the Cuban nation. At the same time, Camacho sees the fallacies of these historical assumptions (as black slaves were not freed in 1868); and in MartÃâs views of the assimilation of the black population through education. See his essay, âEl miedo y la deuda en las crÃ³nicas de Patria de JosÃ© MartÃâ (Quoted in bibliography). 18. See JosÃ© MartÃâs article, âUna orden secreta de africanos,â Patria (April 1, 1893) when he tells the story of TomÃ¡s SurÃ, a seventy year old Afro-Cuban exiled in Key West who learn to read in his old age. JosÃ© MartÃ. Obras Completas. Vol 5. (La Habana: Editorial Ciencias Sociales, 1975. 324-25). 19. Eduardo Renato LÃ¨febre Laboulaye (1811-1883) was a French jurist, writer, and professor of Comparative Legislation at the CollÃ¨ge de France. In 1875 he was elected a life Senator, and in 1876 he was appointed administrator of the CollÃ¨ge de France, resuming his lectures on comparative legislation in 1877. Laboulaye was also chairman of the French Anti-Slavery Society. He is most remembered as the intellectual creator of the Statue of Liberty.Â Always a careful observer of the politics of the United States, and an admirer of its constitution, he wrote a three-volume work on the political history of the United States, and published it in Paris at the height of the politically repressed Second Empire. During the Civil War, he was a zealous advocate of the Union cause. While the U.S. was in the throes of its Civil War (1862 and 1863), Laboulaye published histories of the cultural connections of the two nations. At the war's conclusion in 1865, he had the idea of presenting a statue representing liberty as a gift to the United States, a symbol for ideas suppressed by Napoleon III. The sculptor Frederic-Auguste Bartholdi, one of Laboulaye's friends, turned the idea into reality. Betances probably became familiar with Laboulayeâs writings in France and decided to translate his works because of a shared interest in the abolitionist cause and the treatment of racial politics. Several Latin American men of letters, Domingo Faustino Sarmiento most notably, befriended Laboulaye and supported his ideals. Others who were influenced by Laboulaye were the Chilean VicuÃ±a Mackenna and the Argentinian Lucio V. Mansilla. Mansilla actually translated one of Laboulayeâs most well-known works Paris et America(1863). JosÃ© MartÃ and other Modernista writers were influenced by Laboulayeâs writings, which consist mostly of short stories and poetry. 20. Although RamÃ³n E. Betances was the first Puerto Rican who published a translation of the life and deeds of Toussaint LâOuverture, he was not the only one. From July 22 to August 6, 1887, a nine-part series on Toussaint LâOuverture written by the Barcelona-based Autonomist politician and commercial entrepreneur Antonio CortÃ³n was published inÂ the journal La Revista de Puerto Rico, edited by Francisco Cepeda(II, vol. 34).Â Toussaint LâOuverture died in a French prison after signing a treaty for ruling Haiti under the French. Lieutenant-Governor Romualdo Palacios directed terror campaigns against the leaders and followers of the recently-created Autonomist Party who were accused of conspiracy and being members of secret societies such as âCapÃ¡ Prietoâ and âSecos y Mojados.â La Revista de Puerto Rico was censored by Palacios on October 6, 1887 along with other liberal-autonomist journals.Â The âcomponteâ campaign started in June 1887, just a month before CortÃ³nâs articles were published. Hundreds of citizens were imprisoned and tortured in the galleys of El Morro in Old San Juan and in local prisons in Juana DÃaz, Guayanilla and Aguas Buenas. CortÃ³nâs articles could be read as a critique of the Spanish empire using the figure of LâOuverture as a political symbol for autonomistas. Puerto Rican historians refer to this year as âThe Terrible Year of 1887.â See Antonio S. Pedreira, El aÃ±o terrible del 1887 (San Juan: Biblioteca de Autores PuertorriqueÃ±os, 1935, and Lidio Cruz Monclova, Historia del aÃ±o del 1887 (RÃo Piedras: Editorial UPR, 1958). 21. Jacques Vincent OgÃ© (Dondon, 1750-Port-au Prince, 1791) was a mulatto, descended from a rich family, received his education in Paris, and then entered the service of a German elector. At the beginning of the French revolution, he returned to his native country, where he was elected deputy to the constituent assembly in 1791. He became a prominent member of the club "Les amis des noirs" in Paris, where he interested several statesmen in the cause of the colored populations of the French possessions. When a motion for the enfranchisement of the negroes reached the colonial committee of the assembly. OgÃ© sailed for the United States, procured a supply of arms and ammunition in New Orleans, and landed near Cape Frangais on October 23, 1791 at the head of 250 men. His forces were soon joined by several hundred negroes. At that point, instead of marching directly on the Cape, he sent a message to Governor Peynier. He offered to disarm his troops if the decree of the Constituent Assembly that had partially enfranchised the slaves be immediately put into effect. The negotiations lasted for several weeks, and at the end of that time, Baron de Saint Vincent marched against the rebels, who were routed after desperate actions at Dondon and Grande Riviere. OgÃ© barely escaped with his life and sought refuge on the Spanish part of the island. There he was arrested under orders from Peynier's successor, Count de Blanchelande. On the condition that his life be spared, he was turned over to the French authorities; however, as soon as OgÃ© arrived Port au Prince, Blanchelande broke his word and executed his prisoner (www.famousamericans.net/jacquesvincentogÃ©). 22. Como Becerra, hablan de la asimilaciÃ³n de la colonia a la metrÃ³polis, hubo quien reclamara el aplazamiento de reformas como Romero Robledo, los que como el republicano E. Castelar; dejara de hablar de Santo Domingo, por razones de patriotismo (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 84). 23. que la sangre africana por esos descendientes de los hijos del desierto, vino, como la sangre latina de los franceses, a fecundar, en el suelo americano, la libertad que durante tantos aÃ±os, ha negado los Estados Unidos i que niega aÃºn EspaÃ±a a aquella raza capaz de tantos sacrificios. Es que mientras mÃ¡s oprimido ha sido, mÃ¡s sangre necesita verter un pueblo para conquistar la libertad. Cuba ante los Puerto-riqueÃ±os inmÃ³viles y silenciosos, estÃ¡ probando al mundo la verdad de este formidable, pero imprescindible principio: âsÃ³lo con sangre se lava el hombre de las innominias de la tiranÃa; sÃ³lo por los esfuerzos y del sacrificio, puede arrancarse de manos impÃas la independencia de la patria (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 82). 24. la polÃtica pura, humana, democrÃ¡tica, pacificadora, la que forma por fortuna, tradiciÃ³n en HaitÃ y cuyo glorioso representante es PÃ©tion (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 97). 25. La ley agraria de PÃ©tion; la distribuciÃ³n de tierras asÃ entre los mÃ¡s distinguidos como entre los mÃ¡s humildes soldados y fundadores de la independencia, fijÃ³ en HaitÃ la repÃºblica democrÃ¡tica, e hizo de una horda ensangrentada, y aturdida por el estruendo de tantas batallas, un pueblo de apacibles propietarios que todos ven en sus hogares la patria, su interÃ©s en el orden, la libertad y la gloria en la salvaciÃ³n de su nacionalidad. (SuÃ¡rez-DÃaz, El Dr. RamÃ³n E. Betances y la aboliciÃ³n de la esclavitud 103). 26. I thank my colleague Robyn L. Derby for this important reference to Pedro F. BonÃ³âs novel and his writings. 27. Las Antillas atraviesan hoy por un momento que jamÃ¡s han atravesado en la historia: se les plantea ahora la cuestiÃ³n de ser o no ser. Rechazamos este dilema. Es este el instante preciso de obrar en una defensa unida. UnÃ¡monos los unos con los otros para nuestra propia conservaciÃ³n. SerÃ¡ en vano que un mandatario impÃo intente traficar con el paÃs, como en Santo Domingo, sacrficando a sus conciudadanos; serÃ¡ inÃºtil para EspaÃ±a que trate de acabar con la insurrecciÃ³n de Cuba vendiendo la isla a los Estados Unidos y dar comienzo asÃ a la absorciÃ³n de todas las Antillas por la raza anglosajona. UnÃ¡monos. AmÃ©monos. Formemos todos un pueblo de verdaderos masones, y entonces podremos elevar un templo sobre bases tan sÃ³lidas que todas las fuerzas de la raza sajona y la espaÃ±ola reunidas no podrÃ¡n sacudirlo; templo que dedicaremos a la independencia, y en cuyo frontispicio grabaremos la inscripciÃ³n imperecedera como la Patriaâ¦ âlas Antillas para los Antillanosâ (Ojeda Reyes, FÃ©lix, El desterrado de ParÃs 192-93). 28. Pedro Albizu Camposâ (1893-1965), who was also a Freemason, received a fellowship from the Aurora Lodge in Ponce to complete his graduate studies at Harvard Law School. He was the first Afro-PuertoRican to graduate from Harvard Law School. For information about the creation of the Gran Oriente Nacional see Carmelo Ruiz Marrero, âLibertad, Igualdad, Fraternidad. El Gran Oriente Nacional PuertorriqueÃ±o.â Claridad,22 de mayo, 1998. 29. This statement also applies to the middle-class constituency of African American (Prince Hall) lodges in the United States. See Maurice Wallace, âAre We Men? Prince Hall, Martin Delaney and the Masculine Ideal in Black Freemasonry 1775-1865,â American Literary History. 9.3 (1997): 396-424. Works Cited Anderson, Benedict. Under Three Flags. Anarchism and the Anti-Colonial Imagination. London: Verso, 2005. Alvarez-Curbelo, Silvia. Un paÃs del porvenir. El afÃ¡n de modernidad en Puerto Rico en el siglo XIX. San Juan: CallejÃ³n, 2001. Appiah, Kwame A. The Ethics of Identity. New Jersey: Princeton UP, 2004. Arroyo, Jossianna. âLa figura del criminal y la ilegalidad del estado en dos novelas del siglo XIX puertorriqueÃ±o: La charca y El negocio de Manuel Zeno GandÃa,â Ariel. (April 1994): 55-85. ---.âTechnologies: transculturations of race, gender and ethnicity in Arturo A. Schomburgâs Masonic writings.â Technofuturos. Critical Interventions in Latina (o) Studies.Â Ed. by AgustÃn LaÃ³-Montes and Nancy Mirabal. Boulder: Lexington Books, 2008, 141-173. Badiou, Alan. Ethics. An Essay on the Uniderstanding of Evil. Trans. by Peter Hallward. New York: Verso, 2002. Betances, RamÃ³n E. Obras Completas. Escritos literarios. Volumen III. San Juan: Ediciones Puerto, 2008. ---.Voyages de Scaldado Recit Recuelli par âEl Antillanoâ Paris: Imp. de G. Balitout, 1888. BonÃ³, Pedro F. El montero. Novela. Santo Domingo: Editora ManatÃ, 1968. Buck-Morss, Susan. âHegel and Haiti.â Critical Inquiry. 26.4 (Summer 2000): 821-865. Camacho, Jorge. âEl miedo y la deuda: el negro en las crÃ³nicas de Patria de JosÃ© MartÃ.â Islas Quarterly Journal of Afro-Cuban Issues 2. 9 (2008): 34-46. Childs, Matt D. The 1812 Aponte Rebellion in Cuba and the Struggle Against Slavery. Chapel Hill: The University of North Carolina P, 2006. CossÃ© Bell, Caryn. Revolution, Romanticism and the Afro-Creole Protest Tradition in Louisiana, 1718-1868. (Baton Rouge: Louisiana UP,1997) Costa Vargas, JoÃ£o H. âGenocide in the African Diaspora.â Cultural Dynamics. 17.3 (2005): 267-290. Cruz Monclova, Lidio. Historia del aÃ±o del 1887. San Juan: Editorial de la Universidad de Puerto Rico, 1958. Cubano-Iguina, Astrid. âVisions of Empire and Historical Imagination in Puerto Rico under Spanish Rule, 1870-1898.â Interpreting Spanish Colonialism. Empires, Nations, and Legends. Albuquerque: U of New Mexico P, 2005. 87-108. Dayan, Joan. Haiti, History and the Gods. Berkeley: U of California P, 1995. ---. The Story of Cruel and Unusual. Boston: MIT Press, 2007. Derrrida, Jacques. A Taste for the Secret. Jacques Derrida and Maurizio Ferraris Eds. United Kingdom: Polity, 2001. Duany, Jorge, Luisa HernÃ¡ndez Angueira, CÃ©sar Rey. El barrio gandul: economÃa subterranean y migraciÃ³n indocumentada en Puerto Rico. Caracas/San Juan: Nueva Sociedad/ Universidad del Sagrado CorazÃ³n, 1995. Estrade, Paul. Solidaridad con Cuba Libre 1895-1898: la impresionante labor del Dr. Betances en ParÃs. RÃo Piedras, Editorial UPR, 2001. Fischer, Sybille. Modernity Disavowed. Haiti and the Cultures of Slavery in the Age of Revolution. Durham: Duke UP, 2004. Fordham, Monroe. âNineteenth Century Black Thought in the United States: Some Influences of the Santo Domingo Revolution. Journal of Black Studies. 6.2 (December 1975): 115-126. Guridy, Frank. âThe Road to Harlem and back to Havana: Situating NicolÃ¡s GuillÃ©n and Langston Hughes in Afro-Diasporic Networks.â Paper presented in Caribbean Counterpoints Conference, UT Austin, March 2005. Delgado Pasapera, GermÃ¡n. Puerto Rico: sus luchas enmancipadoras. San Juan: Editorial Cultural, 1984. Foucault, Michel. Power. The Essential Works of Michel Foucault. Vol 3. Paul Rabinow Ed. New York: New World Press, 2003. Firmin, Antenor. The Equality of the Human Races. Trans. By Asselin Charles. Illinois: U of Chicago P, 2002. GarrigÃ³, Roque E. Historia Documentada de la ConspiraciÃ³n de los Rayos y Soles de BolÃvar. Tomo I y II. La Habana: Imprenta El Siglo XX: 1929. Genovese, Eugene D. From Rebellion to Revolution Afro-American Slave Revolts in the Making of the Modern World. Baton Rouge: Louisiana State UP, 1979. Grosfoguel, RamÃ³n and ChloÃ© S. Georas. âLatino Caribbean Diasporas in New York.â Mambo Montage. The Latinization of New York. Ed. by AgustÃn LaÃ³-Montes and Arlene DÃ¡vila. New York: Columbia UP, 2001. 97-118. ---Nelson Maldonado-Torres, JosÃ© M. SaldÃvar. âLatin@s and the Euro-American Menaceâ: The Decolonization of the U.S. Empire in the Twenty-First Century.â Latin@s in the World-System. Decolonization Struggles in the 21st Century US Empire. Boulder: Paradigm Publishers, 2005. 3-30. Helg, Aline. Our Rightful Share. The Afrocuban Struggle for Equality, 1886-1915. Chapel Hill: The U of North Carolina, 1995. Hostos, Eugenio Ma. La peregrinaciÃ³n de BayoÃ¡n. RÃo Piedras: Editorial Edil, 1981. Lomas, Laura. Translating Empire: JosÃ© MartÃ, Migrant Latino Subjects and American Modernity. Duke, UP (2008). Maldonado Torres, Nelson. Against War. Views from the Underside of Modernity. Durham: Duke, UP. 2008. MartÃ, JosÃ©. âA Town sets a Black Man on Fire.â JosÃ© MartÃ. Selected Writings. Ed and Trans by Esther Allen. New York: Penguin Books,Â 2002,Â 310-4. ---. Diarios. PrÃ³logo de Guillermo Cabrera Infante. Barcelona: Galaxia-Gutenberg Eds. 1997. ---. âEn los Estados Unidos.â Obras completas. Vol.12. La Habana: Editorial Ciencias Sociales, 1975. 131. ---. âLa polÃtica extranjera de Uncle Sam.â Obras completas. Vol 12. 241. Massumi, Brian. Parables for the Virtual. Movement, Affect, Sensation. Durham: Duke UP, 2002. Mirabal, Nancy R. âNo Country but the One We Must Fight For:â The Emergence of an Antillean Nation and Community in New York City. 1860-1901.â Mambo Montage. The Latinization of New York. Ed. by AgustÃn LaÃ³-Montes and Arlene DÃ¡vila. New York: Columbia UP, 2001. 57-72. Ojeda Reyes, FÃ©lix. El desterrado de ParÃs. BiografÃa del Dr. RamÃ³n E. Betances, 1827-1898. San Juan: Ediciones Puerto, 2001. PalmiÃ©, Stephan. Wizards and Scientists. Explorations in Afro-Cuban Modernity and Tradition. Durham: Duke UP, 2002. 1-158. Pedreira, Antonio S. El aÃ±o terrible del 1887. San Juan: Biblioteca de Autores PuertorriqueÃ±os, 1935. Pfeifer, Michael J. âLouisiana lynchingsâ http://academic.evergreen.edu/p/pfeiferm/home.htm. Plummer, Brenda Gayle. âFirmin and MartÃ at the Intersection of Pan-Americanism and Pan-Africanism.â JosÃ© MartÃâs âOur Americaâ From National to Hemispheric Cultural Studies. Jeffrey Belnap and RaÃºl FernÃ¡ndez Eds. Durham: Duke UP, 1998. 210-227. Quijano, AnÃbal. âColoniality of Power and Eurocentrism in Latin America.â International Sociology. 15.2 (2000): 215-232. Quintero Rivera, Ãngel. VÃrgenes, magos y escapularios. ImaginerÃa, etnicidad y religiosidad popular en Puerto Rico. San Juan: CIS, 1998. Reichard de Cancio, HaydeÃ©. âLos dominicanos en Aguadilla. http://www.preb.com/geneal/domaguad.htm. Rosario, Raquel. Los efectos de la revoluciÃ³n de Saint Domingue y de la venta de la Louisiana en Puerto Rico: las migraciones en la isla. Tesis doctoral. Universidad de Puerto Rico, RÃo Piedras, 1988. Ruiz Marrero, Carmelo. âLibertad, Igualdad, Fraternidad. ElÂ Gran Oriente Nacional PuertorriqueÃ±o,â Claridad. 22 de mayo 1998. http://www.geocities.com/CapitolHill/2845/masoneria.htm Schmidt-Nowara, Christopher. Empire and Antislavery. Spain, Cuba, and Puerto Rico, 1833-1874. Pittsburgh: U of Pittsburgh P, 1999. Spears, Bartholomew H. The Insular Cases and the Emergence of American Empire. Lawrence: The UniversityÂ P of Kansas, 2006. Â SuÃ¡rez-DÃaz, Ada. El Antillano. BiografÃa del Dr. RamÃ³n Emeterio Betances, 1827-1898. San Juan: Centro de Estudios Avanzados, 2004. ---.El Dr. RamÃ³n Emeterio Betances y la aboliciÃ³n de la esclavitud. San Juan: Instituto de Cultura PuertorriqueÃ±a, 2005. Thompson-Marshall, Shirley E. Exiles at Home: The Struggle to Become American in Creole New Orleans. Cambridge: Harvard UP, 2009. Torres Cuevas, Eduardo. Historia de la masonerÃa cubana. Seis ensayos. La Habana: Imagen ContemporÃ¡nea, 2004. Torres, JosÃ© G. âApÃ©ndice. Bosquejo histÃ³rico de la masonerÃa en Puerto Rico.â Congreso MasÃ³nico Inter-Antillano, San Juan septiembre 24-26, 1922. San Juan: Gran Logia Soberana de Puerto Rico, Carnegie Library, 1922. Trouillot, Michel R. Silencing the Past. Power and the Production of History. Boston: Beacon P, 1995. Verna, Paul. PetiÃ³n y BolÃvar. Una etapa decisiva en la enmancipaciÃ³n de HispanoamÃ©rica (1790-1830). Caracas: Ediciones de la Presidencia de la RepÃºblica, 1975. Wallace, Maurice. âAre We Men? Prince Hall, Martin Delaney and the Masculine Ideal in Black Freemasonry 1775-1865. American Literary History. 9.3 (1997):Â 396-424. Wood, Amy Louise. Lynching and Spectacle. Witnessing Racial Violence in America, 1890-1940. Chapel Hill. North Carolina UP, 2009.
5858	dbpedia	1	1	https://www.britannica.com/biography/Eugenio-Maria-de-Hostos	en	Eugenio María de Hostos \| Puerto Rican Philosopher, Educator, Activist	https://cdn.britannica.c…e.jpg?v=3.124.31	https://cdn.britannica.c…e.jpg?v=3.124.31	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/21/199521-131-9FDD4FEA/El-Morro-fort-old-San-Juan-Puerto-Rico.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/56/199556-131-A3D5A065/streets-of-puerto-rico.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/80/203480-131-ACDB8EC0/Young-student-writing-in-notebook-in-school.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/30/220330-131-82F4B39E/Multiple-Choice-Test-Exam.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/03/221003-131-65001D00/Father-helping-son-with-homework.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/71/196471-131-8FEA8DDD/Daily-Police-Bulletin-Elizabeth-Short-Black-Dahlia-January-1947.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/35/146135-131-BC5E7D00/Baseball-grass-arts-Homepage-blog-entertainment-sports-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/01/190901-131-2048BEEC/vector-illustration-sport-pentathlon-competition-series-Fencing.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/70/191970-131-A85628DA/Color-wheel-light-color-spectrum.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/70/62770-131-C97CD1F7/Black-widow-spider.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/01/150801-131-8C186ACE/Louvre-Museum-pyramid-Paris-Pei-IM.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/47/190947-131-FCF3F960/Olympic-torch-illustration-sports-summer-games.jpg?w=200&h=200&c=crop" ]	[]	[]	[ "Eugenio María de Hostos", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[ "The Editors of Encyclopaedia Britannica" ]	1998-07-20T00:00:00+00:00	Eugenio María de Hostos was an educator and writer who was an early advocate of self-government for the island of Puerto Rico. Hostos was educated in Spain and became active in republican politics as a university student there. He left Spain when that country’s new constitution (1869) refused to	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Eugenio-Maria-de-Hostos	Eugenio María de Hostos (born January 11, 1839, near Mayagüez, Puerto Rico—died August 11, 1903, Santo Domingo, Dominican Republic) was an educator and writer who was an early advocate of self-government for the island of Puerto Rico. Hostos was educated in Spain and became active in republican politics as a university student there. He left Spain when that country’s new constitution (1869) refused to grant autonomy to Puerto Rico. He went to the United States, where he became editor of the Cuban independence journal La Revolución in 1870. He subsequently traveled widely throughout South America and taught in Chile. He returned to the United States in 1898 and participated actively in the Cuban independence movement, but his hopes for Puerto Rican self-government after the Spanish-American War (1898) were disappointed when the U.S. government rejected his proposal for autonomy and instead established its rule over the island as a territory. Hostos returned to the Dominican Republic, where he remained until his death.
5858	dbpedia	0	19	https://www.alamy.com/stock-image-monument-to-eugenio-maria-de-hostos-known-as-the-great-citizen-of-166615942.html	en	Monument to Eugenio Maria de Hostos, known as "The Great Citizen of the Americas", was a Puerto Rican educator, philosopher, intellectual, lawyer, soc Stock Photo	https://c7.alamy.com/com…en-of-KK209A.jpg	https://c7.alamy.com/com…en-of-KK209A.jpg	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "america", "architecture", "art", "bronze", "building", "citizen", "culture", "de", "eugenio", "freedom" ]	null	[ "Alamy Limited" ]	null	Download this stock image: Monument to Eugenio Maria de Hostos, known as The Great Citizen of the Americas, was a Puerto Rican educator, philosopher, intellectual, lawyer, soc - KK209A from Alamy's library of millions of high resolution stock photos, illustrations and vectors.	en	https://s.alamy.com/logo…avicon-16x16.png		https://www.alamy.com/stock-image-monument-to-eugenio-maria-de-hostos-known-as-the-great-citizen-of-166615942.html	Monument to Eugenio Maria de Hostos, known as "The Great Citizen of the Americas", was a Puerto Rican educator, philosopher, intellectual, lawyer, soc Captions are provided by our contributors. RFID:Image ID :KK209A Image details Contributor : Felix Lipov / Alamy Stock Photo Image ID : KK209A File size : 101.7 MB (4.7 MB Compressed download) Open your image file to the full size using image processing software. Releases : Model - no \| Property - noDo I need a release? Dimensions : 7323 x 4854 px \| 62 x 41.1 cm \| 24.4 x 16.2 inches \| 300dpi Date taken : 27 December 2015 More information : Monument to Eugenio Maria de Hostos, known as "The Great Citizen of the Americas", was a Puerto Rican educator, philosopher, intellectual, lawyer, sociologist, and Puerto Rican independence advocate. Taxes may apply to prices shown.
5858	dbpedia	0	39	https://www.masslive.com/news/2015/02/latino_breakfast_club_scholars.html	en	Latino Breakfast Club scholarship available for STCC students	https://www.masslive.com…=1280&quality=90	https://www.masslive.com…=1280&quality=90	[ "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1374", "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1374", "https://www.masslive.com/pf/resources/images/common/weather/small/02.png?d=1374", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_main.svg?d=1374", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_main_sm.svg?d=1374", "https://www.masslive.com/resizer/v2/https%3A%2F%2Fadvancelocal-adapter-image-uploads.s3.amazonaws.com%2Fimage.masslive.com%2Fhome%2Fmass-media%2Fwidth2048%2Fimg%2Fbreakingnews%2Fphoto%2F2015%2F02%2F11%2F16990575-large.jpg?auth=f07f6175c3af33d4f6bf9ba20f99232af82a5d30e48685261de5e18092b20340&width=500&quality=90", "https://www.masslive.com/pf/resources/images/masslive/logos/logo_footer.png?d=1374", "https://www.masslive.com/pf/resources/images/common/icons/privacyoptions29x14.png?d=1374", "https://www.masslive.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1374", "https://www.masslive.com/pf/resources/images/common/logos/AdvanceLocal_horizontal.svg?d=1374", "https://www.masslive.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1374" ]	[]	[]	[ "" ]	null	[ "Elizabeth Román \| eroman@repub.com", "Elizabeth Román", "eroman@repub.com" ]	2015-02-12T00:50:00+00:00	The deadline for applying is March 6, 2015.	en	/pf/resources/images/masslive/favicon.ico?d=1374	masslive	https://www.masslive.com/news/2015/02/latino_breakfast_club_scholars.html	SPRINGFIELD — Latino students looking to continue their education at Springfield Technical Community College can apply for the Latino Breakfast Club/ Eugenio Maria de Hostos Scholarship. Officials said the purpose of this scholarship is to provide financial assistance to academically promising Latino students with financial need. Award recipients can use the scholarship for tuition and fees for fall, spring, summer, and online courses, and books/supplies purchased at the college store and required for classes. Organized in 1993, the Latino Breakfast Club promotes, advocates, and lobbies for initiatives which best address the needs of the Western Massachusetts Latino community. To be eligible, a student must: Be of Hispanic/Latino Descent; Have completed at least 12 college-level credits at STCC and plan to continue at STCC in Fall 2015; or be a 2013 or 2014 graduate of a Springfield public high school attending STCC in Fall 2015; Write a 5-paragraph essay on how Eugenio Maria de Hostos can serve as a role model for the applicant and all students. Maria de Hostos was a Puerto Rican educator, philosopher, intellectual, lawyer, sociologist, and Puerto Rican independence advocate. Demonstrate financial need. The deadline for applying is March 6, 2015.
5858	dbpedia	1	75	https://www.workers.org/2008/world/fbi_pr_0124/	en	FBI launches new attack on Puerto Rican movement			[ "https://www.workers.org/graphics/redbar.gif", "https://www.workers.org/graphics/workersworld.png", "http://workers.org/graphics/twitter-logo.gif", "http://workers.org/graphics/facebook-logo.gif", "http://workers.org/graphics/igoogle-logo.gif", "https://www.workers.org/graphics/wwlogo75.png", "https://www.workers.org/graphics/redstar.png", "https://www.workers.org/pdf/current.jpg", "https://www.workers.org/2008/world/pr_0124.jpg", "https://www.workers.org/images/mail16.png", "http://cdn.printfriendly.com/pf-icon-small.gif", "https://www.workers.org/images/mail16.png" ]	[]	[]	[ "" ]	null	[]	2008-01-17T22:30:00	On Jan. 11 the plaza in front of Federal Court in Brooklyn was filled with Puerto Ricans and their allies denouncing a new witch hunt against the pro-independence movement in their homeland.				null	Published Jan 17, 2008 10:30 PM On Jan. 11 the plaza in front of Federal Court in Brooklyn was filled with Puerto Ricans and their allies denouncing a new witch hunt against the pro-independence movement in their homeland. WW photo The demonstrators, who numbered around 500, chanted, “Filiberto lives, the struggle continues!” and “FBI: terrorists, assassins, imperialists!” On Jan. 10 and 11, similar demonstrations took place in Hartford, Conn.; Los Angeles and Oakland, Calif.; Chicago; Philadelphia; Cleveland; Fitchburg, Mass.; and Orlando, Fla. In San Juan, P.R., more than 1,500 demonstrators marched in front of the Federal Court House with placards that read “FBI assassins.” “Filiberto” refers to Filiberto Ojeda Ríos, a leader of the Ejército Popular Boricua-Macheteros, who was gunned down by the FBI right inside his home in Hormigueros, P.R., on Sept. 23, 2005. Now the U.S. political police agency is going after Puerto Ricans in New York City. Three were subpoenaed to appear before a New York grand jury on Jan. 11 and a fourth is reportedly being hunted. The three are Tania Frontera, a graphic designer; Christopher Torres, a social worker; and Julio Pabón, a filmmaker. The FBI may also be looking for Héctor Rivera, another cultural worker. Just two days after the subpoenas, a committee was set up in New York called the Hostos Jan. 11 Grand Jury Resistance Campaign. The movement is calling for no collaboration with the oppressive authorities. It states that this heightened repression is a violation of human rights and of Article 1514 of the United Nations Charter, which states in part that “the subjection of a people by foreign subjugation, domination and exploitation constitutes a denigration of fundamental human rights” and concludes that “any such people have a right to resist that foreign domination.” A media conference at New York’s City Hall the day of the demonstration was well attended. Both events had an impact and the authorities agreed to a postponement of the grand jury. It was a tentative victory, but this struggle is not over and the movement remains vigilant. The choice of Jan. 11 as the original date of the grand jury was an affront to the memory of one of Puerto Rico’s most revered pro-independence leaders, Eugenio María de Hostos. Born on Jan. 11, 1839, Hostos had been an abolitionist and an advocate of workers’ and women’s rights. He also supported a federation of the Caribbean islands. After the murder of Filiberto Ojeda Ríos in 2005, popular outrage crossed party lines in Puerto Rico and pushed the conciliatory and pro-colonial government of Anibal Acevedo Vilá to launch an investigation into the FBI’s actions. This past summer several articles in the press there exposed the role of the U.S. “security” company DynCorp in Filiberto’s murder. Like the Blackwater contract employees who murder innocent civilians in Iraq and New Orleans, these U.S. mercenaries have only one goal in mind and that is to kill and repress. Washington’s response to this inquiry has been to charge Acevedo Vilá with corruption. In other words, the colonizer is saying to the occupied: “How dare you question us?” Washington’s plan may now be to put its colony in Puerto Rico under direct U.S. receivership. Puerto Ricans have resisted U.S. culture and the imposition of English-only in schools, and over the years have formed liberation organizations such as the Nationalist Party, the FALN and the Macheteros. Now the movement and its allies are calling for the FBI and the U.S. Navy to get out of Puerto Rico. International solidarity is needed. The pro-independence movement has come together to defend the sisters and brothers in the struggle. It is also demanding the freedom of political prisoners Oscar López Rivera, Carlos Alberto Torres, Haydée Beltrán Torres and José Pérez González.
5858	dbpedia	2	61	https://coha.org/from-colonized-thought-to-decolonial-aesthetics-the-search-for-a-philosophical-voice-amongst-puerto-rican-colonized-subjects/	en	From Colonized Thought to Decolonial Aesthetics: The Search for a “Philosophical Voice” Amongst Puerto Rican Colonized Subjects	https://coha.org/wp-cont…sto-de-Poeta.png	https://coha.org/wp-cont…sto-de-Poeta.png	[ "https://coha.org/wp-content/uploads/2018/05/coha-logo-small-white-1.png", "https://coha.org/wp-content/uploads/2019/05/New-Busto-de-Poeta-800x445.png", "https://cdn.printfriendly.com/buttons/printfriendly-pdf-button-nobg-md.png", "https://coha.org/wp-content/uploads/2019/05/Other-Pic-Puerto-Rico-Edited.jpg" ]	[]	[]	[ "" ]	null	[]	2019-05-28T16:13:21+00:00	In the following article I present an example of how Lola Rodríguez de Tió, a popular Puerto Rican poet, used poetry to raise her voice and fight against colonization and for independence. Her work is a good example of how protest marches as well as multiple forms of anti-colonial expression - sculptures, music, dance, etc. - can be instrumental to communicating the desire for freedom and sovereignty.	en		COHA	https://coha.org/from-colonized-thought-to-decolonial-aesthetics-the-search-for-a-philosophical-voice-amongst-puerto-rican-colonized-subjects/	By Erick J. Padilla Rosas For almost 50 years Puerto Rico has suffered an economic crisis – not only due to the mismanagement of capital but as a product of colonial domination. To handle the economic crisis, in June 2016 the United States enacted into law the Puerto Rico Oversight, Management, and Economic Stability Act (PROMESA) which established an oversight board with significant powers over economic affairs in Puerto Rico. This act proposes, through economic austerity, to return economic stability to the archipelago at the expense of the people’s money (el dinero del pueblo). By increasing the costs for electricity, water, education, health, and other public services, PROMESA and the deficient administration of Puerto Rican politicians are demanding the people of Puerto Rico pay off a debt for which they are not responsible. For this reason, nowadays many Puerto Ricans are moving to the United States to find a stable economic status for themselves and their families – while the people who remain in the archipelago are burdened with paying the debt. This is not a sustainable situation for the 60% of the population that in the 2017 census were registered as living in poverty. Two years later, the index of poverty in the archipelago has not changed much. Although some Puerto Ricans are moving to the United States to have a better life, others are raising their voices against oppression and colonization in the archipelago. In the following article I present an example of how Lola Rodríguez de Tió, a popular Puerto Rican poet, used poetry to raise her voice and fight against colonization and for independence. Her work is a good example of how protest marches as well as multiple forms of anti-colonial expression – sculptures, music, dance, etc. – can be instrumental to communicating the desire for freedom and sovereignty. Introduction The field of decolonial studies includes the critical study of the Western philosophical tradition. In this tradition we can discover some of the basic features of modernity, such as the Eurocentric claim of superiority over other peoples, as if European man represented the cutting edge of historical progress. The ego cogito (I think) of French philosopher Rene Descartes centered the foundation of knowledge on the certainty the thinking subject has of its own existence. Descartes’ method of starting the search for knowledge with the subject’s self knowledge has been recognized as one of the pillars of modern Western philosophy. But while the Western hemisphere was contemplating Descartes’ cogito ergo sum (I think, therefore I am), Latin America had already suffered the violence and domination of the European ego conquiro (I conquer). Despite the catastrophe brought by the conquest, and its contemporary expression in the Monroe Doctrine, much of Latin America and the Caribbean remains to this day in a state of resistance to neo-colonial domination. According to the Argentine-Mexican philosopher Enrique Dussel, the arrival of the Eurocentric ego to Western philosophy did not emerge solely from a rational or critical form of thinking, but above all from the historical event of the colonization of the so-called New World.[1] Given this colonial situation, among a colonized people, a search for an alternative “philosophical voice” is commonplace. I will examine that search in the work of the female Puerto Rican poet Lola Rodríguez de Tió to illustrate a decolonizing aesthetics; and, taking guidance from Chilean born philosopher Alejandro Vallega, as well as my own experiences, I will examine the importance of an aesthetic turn for the process of liberation. By aesthetic turn, I mean a change in the way the colonized express resistance to oppression and the desire to be free using artistic means. I will use the lyrics of ‘La Borinqueña’ to show how aestheticism may be instrumental in the creation of a decolonial voice and how the prevailing system seeks to undermine this voice at every turn. Puerto Rico’s colonial history and Puerto Rican identity We can begin to grasp the complexity of the aesthetic turn in Puerto Rican popular culture through the concept of coloniality. Puerto Ricans, the inhabitants of one of the Caribbean archipelagos, have only known one reality: the colonial one. From 1493 to 1898, it was politically controlled by Spain.[2] This situation changed in 1898 when the Treaty of Paris ended the Spanish-American war and Puerto Rico became a colony of the United States.[3] Nowadays Puerto Rico remains a colony of the wealthiest and most powerful country in the Americas. For Puerto Ricans colonial identity shapes everydayness. This coloniality is often concealed, but for those with critical ethical consciousness its sting is ever present. As it were, few admit to having the illness, but everybody suffers its symptoms. Puerto Rico’s Identity and Eugenio María de Hostos Although Puerto Rico is facing a colonial reality, its more critical poets, singers, artists, and novelists have been elucidating what it means to be Puerto Rican – offering a cultural and artistic richness to both Puerto Ricans and non-Puerto Ricans. The critical liberatory aesthetic turn in Puerto Rican popular culture has philosophical roots in the archipelago. For example the Puerto Rican politician, sociologist, and philosopher Eugenio María de Hostos (1839-1903) is in dialogue with decolonial thought in a variety of fields.[4] His texts and political speeches depict an anticolonial thought applicable to the current Puerto Rican reality. Hostos had the opportunity to study philosophy and law in Spain. Nevertheless, his commitment towards the pro-independence movement in Cuba and Puerto Rico motivated him to leave Spain and return to the Antilles. Through solidarity with his people Hostos overcame egoism and coloniality of knowledge following five principles: “responsibility, moral conscience, good as an end, duty, and common benefit.”[5] He argued that education in morality and ethics benefits both the subject and society – key pieces for the construction and progress of an autonomous nationality. Hostos was part of a Puerto Rican popular culture committed to independence for the archipelago of Puerto Rico. This popular culture is informed by the work of Segundo Ruiz Belvis (1828 – 1867) and Ramón Emeterio Betances (1827 – 1898), both of whom devoted their professional lives fighting for the political liberty of Puerto Rico. In fact, both are considered the principal organizers of the Cry of Lares (el Grito de Lares) – a revolutionary pro-independence protest march that took place in the town of Lares, Puerto Rico, in September 23, 1868.[6] Although this revolutionary manifestation was stopped by the Spanish authorities and was not an immediate prelude for independence, it showed that there was growing public sentiment for democracy in the form of self governance. The obstacles to independence, however, pervade even the subjectivity of everydayness. As the Peruvian sociologist and political theorist Aníbal Quijano (1930 – 2018) described it, colonization is manifest in the ‘coloniality of power,’ that is to say, multiple hierarchies of domination including cultural and educational domination, making the liberation of Puerto Ricans even more difficult. Nevertheless, in the Puerto Rican instance, there were Puerto Rican women who collaborated with the movement in support of the independence of Puerto Rico displaying a way of knowledge that took into account the Puerto Rican reality and advanced the emergence of decolonization using literature, poetry, novels and other forms of art.[7] In fact, aesthetics can be instrumental to decolonizing subjectivities. For Vallega “decolonial aesthetics”’ is the manner in which colonized people make evident the oppression they suffer using poetry, music, dance and any type of art.[8] Here communication through art involves a form of decolonial expression when it is understood as revealing the plight of the Other, the marginalized and oppressed. Following the philosopher Enrique Dussel, to listen to their appeal, I need to get closer in a proximal relationship, approaching not something but someone – a living human subject, not a thing to be instrumentalized or dominated.[9] Hearing the cry for help, my relation with the Other is ethical due to my recognition of his/her freedom to live and grow in community. For Vallega, the freedom of the Other constitutes a “radical exteriority” – a technical word to depict the Other’s liberty and dignity. The cry of the Other surpasses my “comfort zone” when I hear it in proximity and understand that his/her life and freedom is at stake. Decolonizing aesthetics can evoke a sense of responsibility for the Other when it reaches a face-to-face encounter with the excluded and oppressed. This proximity can be evoked by the aesthetic experience which provides an occasion for us to recognize our responsibility for the Other.[10] Now, following Vallega’s notion of decolonial aesthetics, we are ready to meet the figure of the Puerto Rican poet Lola Rodríguez de Tió whose decolonial perspective, manifested in the lyrics of ‘La Borinqueña,’ denotes a shining example of decolonial aesthetics. Lola Rodríguez de Tió and “La Borinqueña” Lola Rodríguez de Tió (1843-1924), as any Puerto Rican to date, was born colonial.[11] Nevertheless, she knew that Puerto Ricans deserved freedom. Thus, as Eugenio María de Hostos, Segundo Ruiz Belvis and Ramón Emeterio Betances did, she wanted a free and sovereign Puerto Rico fighting for the independence from Spain. Both poetry and the romantic movement expressed through her literary work allowed her to become one of the most prominent literary writers, recognized internationally, and one of the greatest politically involved Puerto Rican women of her time.[12] Lola Rodríguez de Tió is well-known for writing the lyric to the song ‘La Borinqueña,’ although the origin of its musical composition is contested.[13] In Puerto Rico the authorship of “La Borinqueña” has been attributed to both the Puerto Rican guitarist Francisco Ramírez Ortiz and his friend the Catalonian immigrant Félix Astol.[14] On the other hand, the verses of “La Borinqueña”, written by the Puerto Rican poet, shaped a revolutionary anthem performed for the pro-independence protest march in the town of Lares in 1868.[15] “La Borinqueña” consists of thirteen stanzas of which I discuss five.[16] The first stanza reads as follows: “Awake, borinqueño / The sign, given, incites! / Awake from that dream. / It is now time to fight!”[17] From the very beginning, Rodríguez de Tió exclaims a wake-up call. For more than 350 years Puerto Ricans only had known a colonial status. These lyrics invite us to share a colonial reality with our ancestors, the Taínos. For this reason, the Puerto Rican poet refers to Puerto Ricans as ‘borinqueños.’ The first inhabitants of the archipelago of Puerto Rico called their homeland “Boriquén.” Eventually, this name was taken by a small elite of creoles living in the archipelago and they created the word “Borinquen” to depict the Taíno identity of Puerto Rico.[18] Moving forward, in the third stanza Rodríguez de Tió writes: “Look, the Cuban already / is going to be free; / Machetes will give him / his vital liberty … / Machetes will give him / his vital liberty.”[19] Both Puerto Ricans and Cubans were contemporary brothers seeking independence. At the time, some of the pro-independence leaders, with whom Lola Rodríguez de Tió was involved, agreed to struggle for independence from Spain by organizing protest marches against its political intervention. With this motivation, Rodríguez de Tió was summoning Puerto Ricans to act as their Caribbean brothers, the Cubans. It is also worth noting that Lola Rodríguez de Tió presents the machetes, the tool used by the peasants to cut the sugar cane, as the symbol for liberation. The machetes were familiar to all Cubans and Puerto Ricans regardless of their social status. The message is clear: independence must include the active participation of each one of the inhabitants of the archipelago. In the fifth verse of “La Borinqueña,” the Puerto Rican poet, referencing to “El grito de Lares,” indicates the arrival of an opportunity for independence: “The Lares Insurrection / must happen again, / and we’ll then all know / how to triumph or be slain.”[20] For Rodríguez de Tió, Lares became the icon of freedom. In fact, nowadays, Lares is well-known by the inhabitants of the archipelago of Puerto Rico as the “town of the Cry” (la ciudad del grito) in honor of the revolutionary event which brought Puerto Ricans closer to achieving political independence. The eleventh stanza depicts the participation of colonized women in the pro-independence struggle. Lola Rodríguez de Tió extended the call for independence to all women since they must be part of the revolutionary movement: “We want no more despots! / Let the tyrant now fall! / Our staunch women also / will all answer the call.”[21] The representation of the woman in the movement of independence can be understood as the female participation for the revolution to come. Women suffered colonization, consequently they must be part of independence. Finally, at the end of the anthem, Lola Rodríguez de Tió repeats the call for independence as the call of freedom: “Let’s go, borinqueños, / let us not slackers be, / for anxiously waiting / is our liberty. / Our liberty, our liberty!”[22] For her it was the moment for independence. Both Cuba and Puerto Rico fighting together for independence was the image of an anticolonial mutual sentiment exercised by two colonized peoples. Due to its great revolutionary literary content, “La Borinqueña” was censored by the Spanish authorities in charge and never became the official national anthem of Puerto Rico. The revolutionary lyrics of “La Borinqueña” were replaced by lyrics devoid of decolonizing content. The Puerto Rican poet Manuel Fernández Juncos wrote the sanitized lyrics of the current national anthem, which was officially established in 1952 under the political administration of the United States.[23] His version of “La Borinqueña” preserves the original melody and consists of only four stanzas. Unlike the revolutionary anthem, the modified version describes how gorgeous is the flora of Puerto Rico. Despite the attractive description of Puerto Rico, Fernández Juncos avoided mentioning its inhabitants and political colonial situation. Contrarily, in the third stanza, he recounts the arrival of Christopher Columbus to the coasts of the archipelago. He writes: “When at her beaches Columbus arrived / he exclaimed full of admiration: / “Oh! Oh! Oh! / This is the beautiful land / that I seek.”[24] Undeniably, Columbus was seeking new lands. But those lands were full of people. People who eventually were colonized, oppressed, and exploited by those conquistadors seeking more than “beautiful lands.” With the new lyrics Manuel Fernández Juncos did not refer our memory to the Taínos, but to Columbus. For this reason, I affirm that the current version of “La Borinqueña,” in addition to numbing the Puerto Ricans in a colonial history, does not take into account the dignity of the Taínos – a radical exteriority that was denied. Final Thoughts and Conclusion Instead of being an instance of decolonial aesthetics, as is the version of “La Borinqueña” written by Lola Rodríguez de Tió, the current national anthem of Puerto Rico perpetuates the coloniality of power and knowledge in the archipelago. The colonial reality of Puerto Rico can be overcome gradually, in part, by using a decolonial aesthetics that affirms the human dignity and autonomy embodied by each Puerto Rican. As Lola Rodríguez de Tió did with the lyrics of “La Borinqueña,” each Puerto Rican can critically transcend colonization and its structures of power, which are manifested in the economic and racist system in force at the moment. And the struggle to transform those hierarchies of domination revealed in decolonial aesthetics, can bring us closer to freedom. After all, together with Lola Rodríguez de Tió, each Puerto Rican subject can make decolonial aesthetics his/her tool to achieve step by step the political, economic, educational, and social liberty that the inhabitants of the archipelago of “Borinquen” deserve from now on. An earlier version of this essay was presented at the Philosophies of Liberation Encuentro, May 18 – 19, 2019, Casa0101 Theatre and Loyola Marymount University, Los Angeles, CA. Erick J. Padilla Rosas is a graduate student at the M.A. in Philosophy program, at Louisiana State University ———— End Notes: [1] E. Dussel, Philosophy of Liberation. Translated by Aquilina Marinez and Christine Morkovsky. Maryknoll, New York: Orbis Books, 1985. Henceforth cited as “PL.” [2] See Fernando Picó. Historia general de Puerto Rico. Colección Huracán Academia: 2008. Hereafter cited as “HGPR.” 17. [3] HGPR, 252. [4] See Carlos Beorlegui. Historia del pensamiento filosófico latinoamericano: Una búsqueda incesante de la identidad. Tercera edición. Serie Filosofía, vol. 34. Publicaciones Deusto. Universidad de Deusto, Bilbao 2010. Henceforth cited as “HPFL.” 262-263. [5] HPFL, 248; 321. [6] HPFL, 322. [7] For more information see Muna Lee, “Puerto Rican Women Writers: The Record of One Hundred Years,” Books Abroad, Vol. 8, No. 1 (Jan., 1934), pp. 7-10 Published by: Board of Regents of the University of Oklahoma. Stable URL: https://www.jstor.org/stable/40074829 [8] Alejandro Vallega, Latin American Philosophy: From Identity to Radical Exteriority, edited by Bret W. Davis, D. A. Masolo, and Alejandro Vallega. Bloomington and Indianapolis: Indiana University Press, 2014. Hereafter cited as “LAP.” 196. [9] PL, 17. [10] LAP, 196. [11] Lola Rodríguez de Tió. Lola RodrÍguez de Tió (1843 – 1924). Puerto Rican Poetry: An Anthology from Aboriginal to Contemporary Times. Edited by Roberto Márquez. Published by: University of Massachusetts Press, 2007: 87-92. Henceforth cited as “PRP.” [12] PRP, 87. [13] Eduardo Díaz Díaz and Peter Manuel, “The Rise and Fall of the Danze as National Music,” Creolizing Contradance in the Caribbean, edited by Peter Manuel. Published by: Temple University Press, 2009: 113-154. Henceforth cited as “CCC.” 138. [14] CCC, 138. [15] PRP, 88. [16] PRP, 90. [17] PRP, 90. [18] Armando J. Martí Carvajal, “Boriquén: un repaso a la historia e historiografía del nombre aborigen de Puerto Rico.” Publicado: 13 de abril de 2018. http://www.80grados.net/borinquen-un-repaso-a-la-historiografia-del-nombre-aborigen-de-puerto-rico/ [19] PRP, 90. [20] PRP, 91. [21] PRP, 91. [22] PRP, 91. [23] CCC, 139. [24] Magaly Rivera, La Borinqueña. Welcome to Puerto Rico©, 2019. ——— Work Cited: Beorlegui, Carlos. Historia del pensamiento filosófico latinoamericano: Una búsqueda incesante de la identidad. Tercera edición. Serie Filosofía, vol. 34. Publicaciones Deusto. Universidad de Deusto, Bilbao 2010. Pdf version. Díaz-Díaz, Edgardo and Manuel, Peter. Creolizing Contradance in the Caribbean, Puerto Rico: The Rise and Fall of the Danza as National Music, Temple University Press, 2009. Stable URL: https://www.jstor.org/stable/j.ctt14bt33p.5 Dussel, Enrique. Philosophy of Liberation. Translated by Aquilina Martinez and Christine Morkovsky. Maryknoll, NY: Orbis Books, 1985. Martí Carvajal, Armando J. “Boriquén: un repaso a la historia e historiografía del nombre aborigen de Puerto Rico.” Publicado: 13 de abril de 2018. http://www.80grados.net/boriquen-un-repaso-a-la-historia-e-historiografia-del-nombre-aborigen-de-puerto-rico/ Quijano, Aníbal. “Coloniality of Power, Eurocentrism, and Social Classification.” In Coloniality at Large: Latin American and the Postcolonial Debate, edited by Mabel Moraña, Enrique Dussel, and Carlos A. Jáuregui. Durham, NC: Duke University Press, 2008. Rivera, Magaly. La Borinqueña. ©2009 Welcome to Puerto Rico. http://welcome.topuertorico.org/bori.shtml Rodríguez de Tió, Lola. Puerto Rican Poetry Book Subtitle: An Anthology from Aboriginal to Contemporary Times Book, “Lola Rodríguez de Tió (1843–1924)”, edited by Roberto Márquez, University of Massachusetts Press, 2007. Stable URL: https://www.jstor.org/stable/j.ctt5vk7d3.18 Vallega, Alejandro. Latin American Philosophy: From Identity to Radical Exteriority, edited by Bret W. Davis, D. A. Masolo, and Alejandro Vallega. Bloomington and Indianapolis: Indiana University Press, 2014.
5858	dbpedia	0	4	https://aurorazdb.medium.com/the-architect-of-liberation-eugenio-mar%25C3%25ADa-de-hostos-42914fed3da0	en	The Architect of Liberation: Eugenio María de Hostos	https://miro.medium.com/…0aZB_IJB30_w.png	https://miro.medium.com/…0aZB_IJB30_w.png	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/resize:fill:88:88/1lj60B8Tvf55d75eLUbakvw.jpeg", "https://miro.medium.com/v2/resize:fill:144:144/1*lj60B8Tvf55d75eLUbakvw.jpeg" ]	[]	[]	[ "" ]	null	[ "Aurora Flores-Hostos", "aurorazdb.medium.com" ]	2022-01-12T00:58:21.568000+00:00	“Ideals that take days to conceive, mature over centuries of struggles.” wrote Eugenio Maria de Hostos in the late 1800s. Educator, humanist, abolitionist, feminist, philosopher, writer, politician…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://aurorazdb.medium.com/the-architect-of-liberation-eugenio-mar%C3%ADa-de-hostos-42914fed3da0	Boricua Social Philosopher, Educator — Writer — Patriot “Ideals that take days to conceive, mature over centuries of struggles.” wrote Eugenio Maria de Hostos in the late 1800s. Educator, humanist, abolitionist, feminist, philosopher, writer, politician, and above all, an early advocate of self-government for Puerto Rico, Hostos is globally recognized as one of the most distinguished and illustrious men in Puerto Rico’s history. The creation of a Spanish West Indies Confederation was his lifelong mission. Called the “Citizen of America,” he educated an entire continent with a straightforward, liberal, pragmatic, and international mindset. He advocated and devoted his life to seeking the political independence of Cuba and Puerto Rico, designing a united Federation of the Great Antilles to encompass Puerto Rico, Cuba, and the Dominican Republic with sovereignty for each Island. American investors sponsored his travels to New York, as they did many writers who advocated independence from Spain. Once there, Hostos established the Puerto Rican section of the Cuban Revolutionary Party organized by Cuban poet and patriot José Marti. The first to sign on: Arturo Schomburg. He was editor of a La Revolución, the journal of the Cuban revolutionary movement. He was…
5858	dbpedia	1	18	https://www.cram.com/essay/Eugenio-Maria-De-Hostos-Research-Paper/FCJ63CGNQT	en	Eugenio Maria De Hostos Research Paper - 938 Words			[ "https://beckett.cram.com/1.17/images/icons/burger.png", "https://beckett.cram.com/1.17/images/logos/cram/logo-cram.png", "https://beckett.cram.com/1.17/images/logos/cram/logo-cram-mobile.png", "https://beckett.cram.com/1.17/images/icons/cram/magnifying-glass.svg", "https://beckett.cram.com/1.17/images/icons/cram/magnifying-glass-mobile.svg", "https://beckett.cram.com/1.17/images/icons/user-icon-blue.png", "https://www.cram.com/s/images/preview.png" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.cram.com/essay/Eugenio-Maria-De-Hostos-Research-Paper/FCJ63CGNQT	Elianny Chavez Edu 101 Foundations of Education Sonia Maldonado March 30th, 2017 Spring 2017 Eugenio Maria de Hostos Eugenio Maria de Hostos was born in Mayaguez, Puerto Rico to parents Maria Hilaria Bonilla, and Eugenio Maria de Hostos y Rodríguez on January 11, 1839. Eugenio was sociologist ,writer, politician, philosopher, and lawyer. His first years of education took place in San Juan School, in his native country of Puerto Rico. During his teenage years Eugenio was sent to Spain to continue his education, where years later he graduated as a lawyer. From a young age Eugenio Maria de Hostos was an idealist, with ideas of independence for Puerto Rico, Spain, and Cuba. After solving issues with the education systems in countries of Central …show more content… One can assume, that Eugenio made these changes because he was a wise and Brilliant man. He always wanted equality for all people. Also, he believed in the power of education . Eugenio believed education should be strengthened in different aspects to achieve faster and better learning styles for students. To be able to make changes in education, Eugenio Maria de Hostos experienced many problems because often governments and religious authorities did not believe in his new strategies. If one had to face the obstacles that Eugenio Maria de Hostos had to face, one would not have done anything different, because as well, as him one believes in the power of education and would fight to achieve to a well structured education …show more content… Today, students can enjoy the education system differently because of his efforts to change education for the better. As for women they can develop as professional individuals. Eugenio is remembered as a courageous, and honest human being. In the countries where he lived, he is remembered for his contributions in education, philosophy, and sociology. As a hispanic female college student, I am grateful for the contributions Eugenio Maria de Hostos made to education. Eugenio Maria de Hostos will be remembered as one the greatest educators. Reference Joshua, Arroyo. “ Documental Eugenio M. de Hostos” http:// YouTube. November 27, 2014. You Tube. Lic. “Hostos el Sembrador” Documental http:// You Tube. December 12, 2014. Adriana, Maria Arpini. Eugenio M. de Hostos, un hacedor de libertades. Primera Editorial Mendoza. P. 102-110. January 3,2002 Aragunde, Rafael. Aquiles, Vivian. Eugenio M. de Hostos, Un Debate actual en torno a sus ideas pedagógicas. Chapter 4. P. 109-115
5858	dbpedia	0	42	https://www.freepik.com/premium-photo/monument-eugenio-maria-de-hostos-known-as-great-citizen-americas-was-puerto-rican-educator-philosopher-intellectual-lawyer-sociologist-puerto-rican-independence-advocate_93934851.htm	en	Monument to Eugenio Maria de Hostos known as The Great Citizen of the Americas was a Puerto Rican educator philosopher intellectual lawyer sociologist and Puerto Rican independence advocate	https://img.freepik.com/…1093486-3148.jpg	https://img.freepik.com/…1093486-3148.jpg	[ "https://fps.cdnpk.net/menu-top/collection_vector.webp", "https://fps.cdnpk.net/menu-top/authentic_photos.webp", "https://fps.cdnpk.net/menu-top/free_svg_icons.webp", "https://fps.cdnpk.net/menu-top/collection_psd.webp", "https://fps.cdnpk.net/menu-top/collection_mockup.webp", "https://img.freepik.com/premium-photo/monument-eugenio-maria-de-hostos-known-as-great-citizen-americas-was-puerto-rican-educator-philosopher-intellectual-lawyer-sociologist-puerto-rican-independence-advocate_1093486-3148.jpg", "https://lh3.googleusercontent.com/a/ACg8ocL47iC9F8GMsipwJffVksMgrJ1Lr2sWb-A5hzY4xISN=s96-c" ]	[]	[]	[ "" ]	null	[]	null	Download this Premium Photo about Monument to Eugenio Maria de Hostos known as The Great Citizen of the Americas was a Puerto Rican educator philosopher intellectual lawyer sociologist and Puerto Rican independence advocate, and discover more than 60 Million Professional Stock Photos on Freepik	en	https://fps.cdnpk.net/favicons/favicon.ico	Freepik	https://www.freepik.com/premium-photo/monument-eugenio-maria-de-hostos-known-as-great-citizen-americas-was-puerto-rican-educator-philosopher-intellectual-lawyer-sociologist-puerto-rican-independence-advocate_93934851.htm	Social media Facebook Twitter Pinterest Instagram Youtube Linkedin Discord Reddit Get exclusive assets sent straight to your inbox Sign up
5858	dbpedia	3	17	https://academic.oup.com/book/2145/chapter/142101875	en				[]	[]	[]	[ "" ]	null	[]	null					null
5858	dbpedia	0	15	https://countingthedays.to/pr/birthday-of-eugenio-maria-de-hostos/	en	Counting The Days	https://countingthedays.…full/default.png	https://countingthedays.…full/default.png	[ "https://countingthedays.to/static/images/logo6.png", "https://countingthedays.to/static/images/flags/4x3/pr.svg", "https://countingthedays.to/static/images/days/mid/default.png" ]	[]	[]	[ "" ]	null	[]	null	Counting the days until Birthday of Eugenio Maria de Hostos, free to use and easy to share	en	/static/images/countingthedays.ico	Counting The Days	https://countingthedays.to/pr/birthday-of-eugenio-maria-de-hostos/	We're here to help you keep count of the days to or since a date. Just click the button below and enter your chosen date to get started. Also choose the suggested days or search for a special day above #countingthedays
5858	dbpedia	2	6	https://en.wikipedia.org/wiki/Hostosian_National_Independence_Movement	en	Hostosian National Independence Movement	https://en.wikipedia.org/static/favicon/wikipedia.ico	https://en.wikipedia.org/static/favicon/wikipedia.ico	[ "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/9/99/Question_book-new.svg/50px-Question_book-new.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/1868_Lares_Revolutionay_Flag.svg/20px-1868_Lares_Revolutionay_Flag.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Flag_of_Puerto_Rico.svg/21px-Flag_of_Puerto_Rico.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" ]	2006-04-07T03:12:59+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Hostosian_National_Independence_Movement	Pro-independence organization (and unregistered political party) in Puerto Rico The Hostosian National Independence Movement (Spanish: Movimiento Independentista Nacional Hostosiano, MINH) is a political organization in Puerto Rico. [citation needed] In 2015, Julio Muriente was its leader.[1] History [edit] The MINH was formed on May 6, 2004,[citation needed] by a merger of the National Hostosian Congress (CNH) and the New Puerto Rican Independence Movement (NMIP). The two groups that formed the MINH were organizational descendants of the Puerto Rican Socialist Party (PSP). The organization's name and ideology are based on the tradition of Eugenio María de Hostos, a historical independence advocate. The official organ of the MINH is Red Betances and the newspaper "El Hostosiano". It was an organizational observer of the Non-Aligned Movement.[2][3] Organization [edit] As of 2017 Héctor Pesquera was one of its co-presidents.[4] The organization also reportedly has a "radical youth wing".[5] Recent Events [edit] In 2015 they praised (through their spokesperson Héctor Pesquera) Puerto Rican independence protests, saying "...it’s been a long time since an event for independence was so successful."[6] In 2016, MINH (via Wilma Reverón) denounced the collection of DNA samples from 3 independentist militants.[7] See also [edit] Puerto Rican Independence Party (PIP) References [edit]
5858	dbpedia	1	59	https://www.govinfo.gov/content/pkg/CHRG-109shrg33148/html/CHRG-109shrg33148.htm	en	PUERTO RICO			[]	[]	[]	[ "" ]	null	[]	null					null	[Senate Hearing 109-796] [From the U.S. Government Publishing Office] S. Hrg. 109-796 PUERTO RICO ======================================================================= HEARING before the COMMITTEE ON ENERGY AND NATURAL RESOURCES UNITED STATES SENATE ONE HUNDRED NINTH CONGRESS SECOND SESSION ON THE REPORT BY THE PRESIDENT'S TASK FORCE ON PUERTO RICO'S STATUS __________ NOVEMBER 15, 2006 Printed for the use of the Committee on Energy and Natural Resources __________ U.S. GOVERNMENT PRINTING OFFICE 33-148 PDF WASHINGTON : 2007 ------------------------------------------------------------------ For sale by Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512-1800; DC area (202) 512-1800 Fax: (202) 512-2250. Mail: Stop SSOP, Washington, DC 20402-0001 COMMITTEE ON ENERGY AND NATURAL RESOURCES PETE V. DOMENICI, New Mexico, Chairman LARRY E. CRAIG, Idaho JEFF BINGAMAN, New Mexico CRAIG THOMAS, Wyoming DANIEL K. AKAKA, Hawaii LAMAR ALEXANDER, Tennessee BYRON L. DORGAN, North Dakota LISA MURKOWSKI, Alaska RON WYDEN, Oregon RICHARD M. BURR, North Carolina, TIM JOHNSON, South Dakota MEL MARTINEZ, Florida MARY L. LANDRIEU, Louisiana JAMES M. TALENT, Missouri DIANNE FEINSTEIN, California CONRAD BURNS, Montana MARIA CANTWELL, Washington GEORGE ALLEN, Virginia KEN SALAZAR, Colorado GORDON SMITH, Oregon ROBERT MENENDEZ, New Jersey JIM BUNNING, Kentucky Frank Macchiarola, Staff Director Judith K. Pensabene, Chief Counsel Bob Simon, Democratic Staff Director Sam Fowler, Democratic Chief Counsel Josh Johnson, Professional Staff Member Al Stayman, Democratic Professional Staff Member C O N T E N T S ---------- STATEMENTS Page Acevedo-Vila, Hon. Anibal, Governor of Puerto Rico............... 24 Berrios Martinez, Ruben, President, Puerto Rican Independence Party.......................................................... 33 Bingaman, Hon. Jeff, U.S. Senator from New Mexico................ 2 Burr, Hon. Richard, U.S. Senator from North Carolina............. 9 Craig, Hon. Larry E., U.S. Senator from Idaho.................... 9 Domenici, Hon. Pete V., U.S. Senator from New Mexico............. 1 Fortuno, Hon. Luis G., Resident Commissioner of Puerto Rico, U.S. House of Representatives....................................... 29 Landrieu, Hon. Mary L., U.S. Senator from Louisiana.............. 37 Marshall, C. Kevin, Deputy Assistant Attorney General, Office of Legal Counsel, Department of Justice........................... 14 Martinez, Hon. Mel, U.S. Senator from Florida.................... 3 Menendez, Hon. Robert, U.S. Senator from New Jersey.............. 7 Salazar, Hon. Ken, U.S. Senator from Colorado.................... 6 APPENDIXES Appendix I Responses to additional questions................................ 49 Appendix II Additional material submitted for the record..................... 71 PUERTO RICO ---------- WEDNESDAY, NOVEMBER 15, 2006 U.S. Senate, Committee on Energy and Natural Resources, Washington, DC. The committee met, pursuant to notice, at 2:30 p.m., in room SD-106, Dirksen Senate Office Building, Hon. Pete V. Domenici, chairman, presiding. OPENING STATEMENT OF HON. PETE V. DOMENICI, U.S. SENATOR FROM NEW MEXICO The Chairman. Please come to order. Thank you, everyone. Mr. Marshall, are you all alone? You're alone at the table, but are you otherwise? There is nobody that will sit with you? I'm just kidding. It just looks kind of strange, but we'll see what happens here. Thank you to everybody for coming. We're glad to have you here in the U.S. Senate. I'm sorry we don't have one of our new rooms, but this is the best we have and we hope that it is adequate. With that, let me open, and let me then go to Senator Bingaman and then to Senator Martinez, recently honored with an appointment by the President as chairman of the Republican National Committee, for which we congratulate you. With that, let me suggest that we are here at a hearing on a report from the President's task force on Puerto Rico's status. The committee shall come to order. The purpose of the hearing is to receive testimony on the December 2005 report from the President's task force on Puerto Rico's Status. I am pleased to convene this important hearing to discuss the White House report. I appreciate the attendance of our witnesses and that many elected public officials from Puerto Rico have traveled long distances to join us here today. Thanks to all of you. Before beginning, I want to express my gratitude for all those serving in the Armed Forces from Puerto Rico. I also want to commend those living in Puerto Rico that make their voices heard in local referenda, dealing with their political status. As I understand it, it is not uncommon to have more than 75 percent of the populous vote on referenda dealing with options of political status. Puerto Ricans deserve an opportunity to be consulted regarding their future and its relationship--their relationship with the U.S. and I will work as closely as I can with all parties involved prior to proceeding with any status change. I am pleased that the White House issued the task force report. This is an important first step in understanding the non-territorial forms of government for Puerto Rico. No matter how we proceed, we ultimately need to be assured that the majority of the people of Puerto Rico will have their voice heard. I want the witnesses, who have come here today, I want them to know how grateful we are and I look forward to hearing their testimony. Now, before I introduce the witnesses that are going to testify, let me yield to who today is the ranking member but will be chairman in a couple of weeks, 3 or 4 weeks. But we'll go as it is and we'll yield to the ranking member. That's Senator Bingaman, my co-colleague from New Mexico. Senator Bingaman. STATEMENT OF HON. JEFF BINGAMAN, U.S. SENATOR FROM NEW MEXICO Senator Bingaman. Thank you very much, Mr. Chairman. I appreciate you having this important hearing. I'm pleased that the committee will have the opportunity here in the final days of this 109th Congress to receive testimony on the report of the President's task force on Puerto Rico's Status. Over the years, this committee has put many hours into hearings and the consideration of legislation, but enactment has often been frustrated by a lack of consensus in the Congress and in Washington and in Puerto Rico. In recent years, there have been developments that may have changed that political dynamic. For example, the United States has dramatically reduced its military presence on the island. Second, the possessions tax credit has been fully phased out. And third, the free association relationships have been established with three nations in the Pacific. More recently, this report, that Mr. Marshall is going to testify about, from President Bush's task force has reaffirmed legal positions which seem to me well founded and that were provided to the committee several years ago by the Clinton administration. In two of those findings in particular I would allude to, the current relationship with Puerto Rico is based on the territorial clause and second, that the mutual consent provisions in the new commonwealth proposal cannot be accommodated under the U.S. Constitution. However, with respect to the report's recommendations for legislation, I think it is too early to determine if there is sufficient consensus in the House and the Senate and also whether there is a commitment by this administration to move forward with legislation. This is an issue of great importance to the people of Puerto Rico. They deserve an opportunity to be consulted. Today is an opportunity to hear what the prospects for consensus are and I will continue to work with you and consult closely with others here on the committee and officials from Puerto Rico and the administration before we proceed. So thank you again for having the hearing. I look forward to hearing the witnesses and continuing to work with you on this issue. The Chairman. Thank you very much, Senator Bingaman. Now we have some additional members of the panel who have arrived. On our side, we have distinguished Senator Martinez and it's noteworthy that we have two additional Senators on the Democratic side, one a new member--not the newest, but a new member from Colorado, Senator Salazar. It's always a privilege. I'm sure we will hear some insightful questions from you about this situation. And then we have Senator Menendez. He's newly elected also, so we congratulate you, for the record, on your election and we're glad that you were able to make it here with us today, Senator. Thank you very, very much. I think the rules would now say we go to Senator Martinez, and then to the Democratic side, to Senator Menendez. Please proceed, Senator. Whatever time you want is yours. STATEMENT OF HON. MEL MARTINEZ, U.S. SENATOR FROM FLORIDA Senator Martinez. Thank you, Mr. Chairman, and thank you so much for holding this very important hearing today. I want to express to you my real personal gratitude for making time for this, for the diligent work of the staff. I also want to thank Ranking Member Bingaman for his work on making this hearing possible. I also just want to take a moment to recognize de una calidad bienvenida to so many people who have traveled here from Puerto Rico to be with us today; most of all, and first and foremost, Governor Acevedo, but also, of course, our Congressman, Luis Fortuno, and the many other elected officials. Mayor O'Neil I know is here and I'm sure there are many others that represent the people of Puerto Rico in different elected offices. So I welcome all of you and look forward to continuing this discussion on this very important issue. When considering Puerto Rico's status, it is clear that we have been left in an untenable circumstance regarding what the future will hold for the citizens of Puerto Rico. This hearing is critical in answering many of the questions that have, for too long now, gone unanswered. Although it isn't likely that we will hear all the answers today, we are certainly moving in the right direction. This hearing will give us an opportunity to review our Nation's policy toward Puerto Rico--how we got it where we are--and it will also give us an opportunity to discuss where we are heading. However, first and foremost, we should start by clarifying one point: Puerto Rico is undoubtedly a territory of the United States. Puerto Rico is subject to the Territorial Clause of the U.S. Constitution and, therefore, a territory of the United States since 1898. That has not changed in the last 108 years. Federal authorities including GAO, CRS, DOJ, State, the Supreme Court, the U.S. House of Representatives and successive U.S. Presidents, including the legislative history of Law 600, which provided Puerto Rico to write a local constitution, and the record of this committee, all make clear that the status of Puerto Rico remains under the Territorial Clause since 1898. It is for this reason that, as we begin our debate on Puerto Rico's future, we do not forget the obvious--that Puerto Rico is a territory of the United States. What does this mean? Practically, it means that our Federal laws are applicable in Puerto Rico, yet the U.S. citizens of Puerto Rico do not have adequate or proportionate representation to decide those laws. And a government based on representative democracy clarifying this situation is an absolute necessity. Mr. Chairman, in order to begin the process of resolving this matter, we need to start by asking one important question: Why is Puerto Rico the only territory in the United States to be granted U.S. citizenship by Congress, while at the same time not being put in a position to establish a permanent relationship with the United States? When the Congress conferred U.S. citizenship for the territories of Alaska and Hawaii, the U.S. Supreme Court interpreted it to mean that the U.S. Constitution applied and those territories were incorporated into the Union. When Congress conferred U.S. citizenship for Puerto Rico, the U.S. Supreme Court deviated from the Alaska and Hawaii precedents and ruled that the Constitution did not apply. This meant that Congress could govern the U.S. citizens of Puerto Rico under the same unincorporated territory doctrine that applied to non-citizens in the Philippines when it was in transition to independence. Although Congress has been active on this issue, it has not taken the necessary steps to resolve Puerto Rico's status. As a result, some U.S. citizens of Puerto Rico have created a number of unconventional status ideologies and doctrines that combine features of statehood, territorial status and independence. The ideologies and doctrines may be ill-advised or even legally flawed in some respect but they are a direct result of U.S. citizens simply trying to fill the void left by the U.S. Congress. These doctrines, which now complicate the issue of Puerto Rico's status, most likely would not have been created had Congress not overlooked its responsibility for a territorial status resolution. I mention this not to chastise previous Congresses but to urge my colleagues to take this matter up in an expeditious fashion, to address it fully and to resolve it finally. As I said earlier, this is long overdue and the people of Puerto Rico deserve their say. As a result, I have introduced legislation that would move this process forward. It would not dictate the status of Puerto Rico but it would begin a process whereby a resolution of this matter could be reached. This hearing is a critical step toward finding a workable solution and I'm pleased that both sides of this important debate are represented here today and will present testimony to our committee. While some people support the White House report, others oppose it. Both sides have valuable perspectives and are important to this debate, because both sides have the best interests of Puerto Rico at heart. It is with a tone of civility that we should open this hearing, because there is, I believe, a firm understanding that we are here today to determine what is in the best interests of all U.S. citizens in Puerto Rico and are here to better understand the constitutional options available to future generations of U.S. citizens living in Puerto Rico. Thank you, Mr. Chairman. [The prepared statement of Senator Martinez follows:] Prepared Statement of Hon. Mel Martinez, U.S. Senator From Florida Mr. Chairman, I want to personally thank you for calling this important hearing. The issue of Puerto Rico's status is of great interest to me and many of my constituents in Florida, and it is an issue where a meaningful resolution is well overdue. When considering Puerto Rico's status, it is clear that we have been left in an untenable circumstance regarding what the future will hold for the citizens of Puerto Rico. This hearing is critical in answering many of the questions that have, for too long now, gone unanswered. Although it is unlikely that we will hear all the answers today, we are certainly moving in the right direction. This hearing will give us an opportunity to review our nation's policy toward Puerto Rico, how we got where we are, and will also give us an opportunity to discuss where it is we are heading. However, first and foremost, we should start by clarifying one point: Puerto Rico is undoubtedly a territory of the United States. Puerto Rico is subject to the Territorial Clause of the US Constitution, and therefore a Territory of the US since 1898. That has not changed in the last 108 years. Federal authorities (including GAO, CRS, DOJ, State, US Supreme Court, US House of Representatives, successive US Presidents) including the legislative history of Law 600 (which provided for Puerto Rico to write a local constitution), and the record of this Committee, all make clear that the status of Puerto Rico remains under the Territorial Clause since 1898. And it is for this reason that, as we begin our debate on Puerto Rico's future, we do not forget the obvious--that Puerto Rico is a territory of the United States. What does this mean? Practically, it means that our federal laws are applicable in Puerto Rico, yet the United States citizens of Puerto Rico do not have adequate or proportional representation to decide those laws. In a government based on representative democracy, clarifying this situation is of absolute necessity. Mr. Chairman, in order to begin the process of resolving this matter, we need to start by asking one important question: why is Puerto Rico the only territory in U.S. history to be granted U.S. citizenship by Congress, while, at the same time, not being put in a position to establish a permanent relationship with the United States? When the Congress conferred U.S. citizenship for the territories of Alaska and Hawaii, the U.S. Supreme Court interpreted that to mean the U.S. Constitution applied and those territories were incorporated into the union. When Congress conferred U.S. citizenship for Puerto Rico, the U.S. Supreme Court deviated from the Alaska and Hawaii precedents and ruled that the Constitution did not apply. This meant that Congress could govern the U.S. citizens of Puerto Rico under the same unincorporated territory doctrine that applied to non-citizens in the Philippines when it was in transition to independence. Although Congress has been active on this issue, it has not taken the necessary steps to resolve Puerto Rico's status. As a result, some U.S. citizens of Puerto Rico have created a number of unconventional status ideologies and doctrines that combine features of statehood, territorial status and independence. These ideologies and doctrines may be ill-advised or even legally flawed in some respects, but they are the direct result of U.S. citizens simply trying to fill the void left by Congress. These doctrines, which now complicate the issue of Puerto Rico's status, most likely would not have been created, had Congress not overlooked its responsibility for a territorial status resolution. I mention this not to chastise previous Congresses, but to urge my colleagues to take this matter up in an expeditious fashion, to address it fully, and to resolve it, finally. As I said earlier, this is long overdue, and the people of Puerto Rico deserve their say. As a result, I have introduced legislation that would move this process forward. It would not dictate the status of Puerto Rico, but it would begin a process whereby a resolution on this matter could be reached. This hearing is a critical step toward finding a workable solution, and I am pleased that both sides of this important debate are represented here today and will be presenting testimony to our Committee. While some people support the White House report; others oppose it--both sides have valuable perspectives and are important to this debate, because both sides have the best interests of Puerto Rico at heart. It is with a tone of civility that we should open this hearing, because there is, I believe, a firm understanding that we are here today to determine what is in the best interests of all U.S. citizens in Puerto Rico and are here to better understand the constitutional options available to future generations of U.S. citizens living in Puerto Rico. The Chairman. Thank you very much, Senator. Now it's the Senator from Colorado. STATEMENT OF HON. KEN SALAZAR, U.S. SENATOR FROM COLORADO Senator Salazar. Thank you very much, Chairman Domenici and Ranking Member Bingaman, for holding this hearing on this very important issue. I also shout out my greetings to Governor Acevedo, as well as to Luis Fortuno and Ken McClintock and others who are here from Puerto Rico, who have traveled so far. Welcome here to your Nation's capital as well. When President Clinton signed Executive Order 13183, establishing the President's task force on Puerto Rico, to help answer the questions that the people of Puerto Rico have asked for years regarding the options for their future status and the process for realizing an option, I doubt that he or those advising him expected that the task force would take so many years to make a recommendation. However, now that the task force has acted, I believe that the 3.9 million people of Puerto Rico deserve a response from this Congress. With Capitol Hill buzzing from the election and the changes in the House and the Senate, I appreciate very much the attention that the Energy Committee is giving to this issue today. Not all issues are receiving this kind of attention in Washington on these days. I am very eager to hear from today's panels of leaders and experts on this issue of the future of Puerto Rico. I look forward to hearing from the Deputy Assistant Attorney General, Kevin Marshall, with respect to the task force report. Likewise, I am very interested in learning more about the thoughts and reactions to the report from representatives from Puerto Rico's political parties, Governor Acevedo, Resident Commissioner Fortuno and Ruben Berrios Martinez. All of you in Puerto Rico and those of us who are interested in the future of the island have lived with this issue for a very long time. Notwithstanding the status of Puerto Rico, the people of Puerto Rico have been great citizens of the United States and have contributed greatly to this Nation. I am sure you will use this forum to share your unique perspective. I believe that our committee will benefit very much from your views. I hope you can offer us clear and practical ideas for moving forward. I have come to learn more about the unresolved question of what is Puerto Rico's status through conversations with Puerto Rican leaders on different sides of this issue and by traveling, within the last year, to Puerto Rico with my friend, Senator Mel Martinez. I recognize the great responsibility that this committee placed in providing Puerto Ricans with the means to determine the ultimate status of their island. That is why, with 13 other Senators, we introduced the Puerto Rico Democracy Act. Our bill would implement the first step of the task force recommendations by authorizing a plebiscite that would ask Puerto Ricans to decide if they would like to remain in their current status as a U.S. territory or pursue some other permanent, non-territory option. In either case, Congress would be responsible for assisting with and respecting the desires of the people. If the people determine that they are satisfied with their current political situation, Congress may revisit the issue in the future. If, on the other hand, Puerto Ricans elect to pursue a permanent non-territory option, Congress would have to authorize a mechanism to ascertain that new status. My interest, very simply stated, is to provide the people of Puerto Rico with a voice in their future. For more than 100 years, the U.S. Government has allowed the question of Puerto Rico and its future simply to linger. As we look ahead to the 110th Congress, it is my hope that this committee will keep Puerto Rico on the agenda and that we can help the people of Puerto Rico in moving forward on this issue. Once again, Mr. Chairman, I thank you for today's hearing and I look forward to hearing from the panel today. The Chairman. Thank you very much, Senator. Let me see. Since there are so many people, I do want to be fair with the Senators and the people in terms of time consumed. The next one who would come up here would be you, Senator Menendez. I think what we'll do, if you don't mind, is go to you with an opening statement, but ask you in advance if you could tell us that it would be limited in how long that opening statement might be. Senator Menendez. Well, Mr. Chairman, I'll be, I think, within the timeframe that we normally would have here. The Chairman. Will you do that? Senator Menendez. Yes, sir. The Chairman. All right. We're going to do the same with you, Senator Burr. Do you want to even take less? You're going to do half the allowed? Well then, he agreed to that, now that's the order. Thank you. You will follow him with half the time allotted. Senator Menendez, you're next. STATEMENT OF HON. ROBERT MENENDEZ, U.S. SENATOR FROM NEW JERSEY Senator Menendez. Thank you, Mr. Chairman. Thank you for your kind wishes to our ranking member and soon-to-be-chair, as well. I appreciate him and our colleagues; Governor Anibal Acevedo, too; the Resident Commissioner, Congressman Fortuno; the President of the Puerto Rican Independence Party; and all who have come here. We welcome you. Now, many of you think we are here to talk about Puerto Rico and Puerto Rico policy, but what we are actually here to talk about today is not policy, but process. Every member of the Senate knows that process matters. Every member of the Senate knows that the process you set up to debate amendments and to vote on amendments can determine the outcome. That is why we spend hours debating about how we are going to debate. That is why members of the Senate, who know Senate procedure, can win on process even when they could lose on policy. So there is no group of people who should understand better than this group of Senators that when it comes to the future of Puerto Rico, process matters. And every American understands that a rigged vote creates a false outcome. I have always said that when it comes to Puerto Rico, we must have an unstacked and unbiased process that allows the people of Puerto Rico to determine their own future. And I would hope that every member of the Senate would support an unstacked and unbiased process, whether the outcome was statehood, independence or commonwealth. Unfortunately, the White House Task Force and certain legislation in both the House and the Senate create a process that in my mind, is designed to get a specific outcome. I know that for many people, the idea of a plebiscite or a referendum by the people sounds like a good idea. Why not let the people vote on the options to determine their future? But that is not actually what the White House Task Force proposes. Unfortunately, the process set up by the White House Task Force does not let the people of Puerto Rico hold a clear side-by- side vote on the three options: statehood, independence or commonwealth. And here is where we see, once again, that process matters. Rather than creating a process where all three options are voted on side-by-side, the White House Task Force sets up a rigged, two-step process designed to kill the commonwealth option in the first vote and then not allow it as part of a second vote. First, the voters will be asked to vote for or against moving to a permanent, non-territorial status. According to the White House Task Force, the people of Puerto Rico will be asked to say whether they wish to remain a U.S. territory subject to the will of Congress. Let me be clear. This is not a vote for or against the commonwealth as we know it. In fact, the definition of the commonwealth as described in the report is designed to scare people into voting against the commonwealth. The report gives the false impression that under the commonwealth, Puerto Rico is a colony and that people could lose their U.S. citizenship. The definition of commonwealth is so warped that even those who support the current commonwealth status would likely vote against it. So the first vote doesn't even allow the people of Puerto Rico to vote for or against a real commonwealth. In fact, the vote would be designed to get a commonwealth-sounding option voted down by scaring people. And by making the first vote a separate vote on commonwealth status, you increase the number of people voting against it by creating an alliance between those who might support independence and statehood. So after killing the commonwealth option, the second vote would only allow voters to choose statehood or independence. You may ask why the White House task force did not recommend a straight side-by-side vote of the three options. You may ask why the White House Task Force included a definition of commonwealth that is designed to scare Puerto Ricans. I cannot answer those questions, although I look forward to getting some answers today. It reminds me of the point I began with today, and this is where I'll end. Process matters. If you cannot win in an outright vote, then stack the process so your side wins. I say the people of Puerto Rico deserve better than a stacked process designed so one side can win. The people of Puerto Rico deserve to determine their own future. The people of Puerto Rico, as American citizens, have the right to a fair and unbiased process. That's why I support legislation that will bring the people of Puerto Rico together to build consensus in their own land. It puts the future of Puerto Rico in the hands of Puerto Ricans. It allows Puerto Ricans to tell Congress what they want rather than the other way around. And that, Mr. Chairman, is what I hope we would see. I would remind everyone that the issue here is not whether you support statehood, independence or commonwealth. The issue is creating a process that is fair. The bottom line is that a rigged process creates a false outcome and the people of Puerto Rico deserve a fair process and a true outcome. Thank you, Mr. Chairman. The Chairman. Thank you very much, Senator. Now, we're going to have Senator Burr for half the time allotted, so that means 2\1/2\ minutes. STATEMENT OF HON. RICHARD BURR, U.S. SENATOR FROM NORTH CAROLINA Senator Burr. I thank the Chair. I thank the ranking member. The Chairman. It's hard to breathe in 2\1/2\ minutes. Senator Burr. But this Senator can do it. The Chairman. All right. Let's go. Senator Burr. I thank the Chair and I thank the ranking member for the opportunity to have such a distinguished group of witnesses here today. The self-determination process for Puerto Rico must be a fair and transparent process. We have a very important responsibility to ensure that any process that leads to the consideration of the 51st State in the Union be conducted in a way that is fair to all involved. We owe it to our constituents and to our common citizens in Puerto Rico. The sanctity of the Union and our commitment to the democratic principles must guide how we treat this sensitive and significant process of self-determination. While I have concerns about the task force report that we are here to examine today, I do respect Puerto Ricans' right to self- determination. S. 2304 simply recognizes Puerto Rico's right to self-determination. Our founding fathers' belief in the importance of a Constitutional Convention led to the formation of the United States of America. Therefore, we must recognize their wisdom and move this process forward through local consensus first and for congressional consideration thereafter. I look forward to the hearing we are here to learn from. I pledge and look forward to working with the Governor and with the Resident Commissioner as further issues are explored in what I think is an extremely important issue about the Commonwealth of Puerto Rico. I thank the Chair. [The prepared statement of Senator Craig follows:] Prepared Statement of Hon. Larry E. Craig, U.S. Senator From Idaho To give some context to today's hearing the record should include some relevant history of the Committee's oversight role in support of status resolution for Puerto Rico. On January 17, 1989, the Governor of Puerto Rico, acting as head of his political party, co-signed a letter with the heads of the other two major political parties in Puerto Rico, seeking federal support for and participation in a process to resolve the ``ultimate political status'' of Puerto Rico. In response, from 1989 to 1991 the U.S. Congress expended a significant amount of time and effort trying to help our fellow American citizens in Puerto Rico resolve the political status question for that U.S. territory. In 1994 the duly-constituted Legislative Assembly of Puerto Rico formally petitioned the U.S. to approve a commonwealth proposal that garnered less than a majority of votes in a locally sponsored vote conducted in 1993. The 1994 petition asked Congress to define what status options it was willing to consider. In 1997 the local legislature renewed its petition and asked Congress to sponsor a federally recognized vote based on legally valid status definitions Congress would be willing to consider. In 1998 the House answered the petition when it debated and passed on a recorded vote legislation containing legally valid definitions of statehood, independence and commonwealth. However, the Senate never acted on similar bipartisan legislation I sponsored, and instead passed a resolution confirming the territorial clause power of Congress with respect to the status of Puerto Rico. At that point the local Puerto Rican government called a plebiscite based on the general principles of status options contained in the House passed bill. In that vote statehood received 46.5%, the highest vote of any political status option on the ballot. Independence received 2.5%, and separate nationhood with a treaty of free association like the compact for Micronesia received .02%. The commonwealth option on the ballot was based on governing U.S. Supreme Court rulings and federal law defining the current status as that of a U.S. territory, and this option received .01% of the vote. This represented a 99.9% rejection of the current commonwealth defined by federal law as a territory. That left only one option on the ballot, which was ``None of the Above'', and it received 50.2% of the vote. Thus, a ballot option that did not define any political status got the most votes, and we will never know what the vote would have been for the actual status options if ``None of the Above'' had not been on the ballot. What we do know is that the local pro-commonwealth Party in Puerto Rico rejected the House passed definition of commonwealth and the version thereof on the 1998 local plebiscite ballot. This was because both the House bill and 1998 ballot correctly stated that as a commonwealth Puerto Rico remains subject to the authority of Congress under the territorial clause in Art. IV, Sec. 3 of the U.S. Constitution. The reason the local commonwealth party rejected the House passed definition of commonwealth is that in 1998 the Governing Board of that party adopted its official platform confirming that party's long held ideology that commonwealth is not territorial but is instead a form of separate sovereign nationhood. The 1998 party platform asserts that: Puerto Rico is not a U.S. territory and therefore is not subject to the power of Congress under the territorial clause Puerto Rico is a nation which conducts relations with the U.S. on ``bilateral'' basis under a ``compact'' formed by approval of the local constitution in 1952 Commonwealth means Puerto Rico is a ``free associated state'' with separate national sovereignty that exists on a plane of international equivalence with the United States Commonwealth means Puerto Rico has its own separate international identity and can conduct its own foreign relations, including its own trade relations, even while it enjoys domestic status as a U.S. customs territory While not yet recognized by the United States, so that further development of the bilateral compact is required, federal powers in Puerto Rico are only those delegated by Puerto Rico or retained under the compact The compact is binding on the United States and cannot be altered without Puerto Rico's consent U.S. law applies in Puerto Rico only as provided consistent with the compact New federal laws do not apply unless consented to by Puerto Rico under the compact The compact guarantees federal programs, tax exemptions and U.S. citizenship in perpetuity under a political union that cannot be ended without consent of Puerto Rico On the basis of that platform the commonwealth party declared the House passed bill and the commonwealth option on the 1998 plebiscite ballot biased in favor of statehood. In other words, since the House bill and 1998 ballot accurately defined commonwealth as it exists under federal law rather than conforming to the local party's platform, the House language was seen as biased towards statehood by some. While I do not believe it is the job of Congress to choose sides in determining what form of political status the Puerto Ricans will decide, I do believe it is the responsibility of Congress to provide the legal framework for the decision they must make. defining status options Given this history, it is clear that defining status options under federal law and determining which of these Congress is willing to consider is the single most imperative requirement for status resolution. The territorial clause vests Congress with the primary authority and responsibility to define options and sponsor an orderly and informed process of self-determination. Unfortunately, in 1991 and 1998, Congress was not willing to sustain the effort required to fulfill its constitutional role. Congress has been determining the future status of territories since 1796, when the first U.S. territory outside of an existing state joined the union as a new state. After considering local status votes and petitions, the United States has subsequently admitted 32 territories as states, with one territory becoming an independent nation. Additionally, three U.S.-governed U.N. trust territories have become free associated states under a treaty with the United States. Yet in 108 years of U.S. administration, there has never been a Congressionally-sponsored status referendum in Puerto Rico. Congress has yet to recognize a Puerto Rican vote on status as a legitimate and informed act of self-determination among options compatible with the U.S. Constitution. The 1952 vote to adopt a local constitution did not present political status options to the voters and in fact was not a status vote at all. A 1967 vote favoring a now obsolete and non-viable commonwealth, the 1993 vote, and the 1998 vote, all failed to produce a majority for a status option that Congress would accept as compatible with federal law. executive branch initiatives Given this lamentable history of Congressional inaction, the efforts to resolve Puerto Rico's status advanced by President Bush in 1992, President Clinton in 2000, and President Bush in 2003, are to be commended. If these three Administrations had not provided leadership on this issue, we would not be as far along as we are building a record that provides a foundation for ultimate action by Congress. The Report by the President's task force on Puerto Rico's Status is a mercifully condensed but fully complete and adequate summarization of the Puerto Rico status process to date. It makes sound recommendations as to next steps for further progress. Accordingly, this hearing on the White House report is timely and important if for no other reason than it adds the White House report and the views of the witnesses about it to the record before this Committee in anticipation of future legislation. In addition to examining the White House report closely, we need to begin the process for considering legislation proposed to implement the recommendations in the Report, which was prepared by the Administration's senior officials responsible for policy relating to Puerto Rico's status. S. 2661, sponsored by Mr. Martinez and Mr. Salazar, represents a very restrained and even minimalist approach, essentially an up or down vote on continuing the current status or seeking a new status that is not territorial. Instead of the relatively comprehensive self-determination process contained in the 1998 House-passed bill, S. 2661 is essentially a measure favoring gradualism in order to enable the political process to take it one step at a time. That is appropriate because the first goal and highest responsibility of Congress is not to promote statehood, independence, or continued territory status, but to facilitate informed self-determination. Under this bill, there would never be the need for Congress or Puerto Rico to define or sponsor a vote on statehood, independence, or free association, unless there is first a majority vote to end the current status and seek a non-territory status. Since 1993, there has not been a majority vote for any political status option, and in 1998 virtually the entire population rejected commonwealth defined as territory status. So it is important to end minority rule on status, which refers to the 46.5% vote for statehood in 1998 or the 48.67% vote for an unrealistic and unconstitutional commonwealth option in 1993. Those pluralities in local votes can and should be replaced by majorities in votes recognized by the United States, and the proposal to determine if a majority favor the current status as defined by federal law or seek a non-territory status is fair to all three status options and all three major political parties in Puerto Rico. Of course, because the White House report and the Martinez-Salazar bill define the Commonwealth of Puerto Rico as a territory, some in the commonwealth party argue that the intent of the Martinez-Salazar bill and the report are both biased in favor of statehood. As a cosponsor of the Martinez-Salazar bill, I reject that label of bias, and believe that this bill would simply provide a mechanism for the people of Puerto Rico to determine a legally acceptable political status. The local commonwealth party remains committed to the proposed development of commonwealth under the 1998 party platform described above. Indeed, on December 28, 2005, shortly after the White House report was issued, the Governor of Puerto Rico, in his capacity as head of the commonwealth party, stated that the 1998 platform for development of commonwealth ``reflects our aspirations for autonomous development . . . We are ready to undertake this development when the United States demonstrates the maturity to recognize that this type of relationship is what . . . both countries need.'' At a House hearing on the White House report conducted on April 27, 2006, the commonwealth party witnesses argued that a vote on remaining a territory or seeking a new non-territory status is biased in favor of statehood because supporters of statehood and independence could ``gang up'' and vote for a non-territory status. The commonwealth party witnesses also asserted that a vote on the current status as defined by federal law is unfair because the commonwealth party does not accept the definition of the current status under federal law, and so their definition of commonwealth is unfairly excluded from the process. To address these implausible arguments we begin with the fact that under Article VI of the U.S. Constitution federal law is the supreme law of the land. That includes federal law applicable to Puerto Rico as long as it is a territory under U.S. sovereignty. If federal law defines Puerto Rico as a territory, which it does, then a majority vote to seek a new non-territory status is a majority vote against the current status regardless of what new non-territory status the voters may prefer. Further, it is the responsibility of the federal and local government to ensure that commonwealth proposals the U.S. Department of Justice has labeled ``illusory'' and ``deceptive'' are not allowed to appear on self-determination ballots. What would be truly unfair and biased would be to include an unviable option on the ballot in a status vote. That is what happened in 1993, when a definition of commonwealth that was constitutionally unrealistic and legally invalid was presented to voters. This results in an ``artificial plurality'' for a commonwealth option that does not exist and is impossible. In the history of U.S. territorial law, statehood and independence are the normative options. Territorial status is normative as a temporary status until the territory is ready for statehood or independence. What is not normative is for a territory to be granted U.S. citizenship, develop internal self-government under a locally adopted constitution, but remain in that status for an indefinite period lasting decades, without any action by Congress leading to incorporation and statehood, or even independence. It is understandable that in the absence of a federal policy on status local political parties would begin to develop their own status definitions that would benefit their interests. At the same time, those definitions might not fit within U.S. federal law or under the constitutional definition of a territory. For example, the United Nations recognized free association as an alternative to integration with another nation or full independence, but in international law that is based on separate sovereign nationhood, and the retention by each party of the right to full independence through unilateral termination of the association. If a majority of voters in Puerto Rico want free association, that is a legally valid and politically realistic status option. The same is true of statehood, it is a well-defined legally valid status. federal responsibility for status resolution Historically, territory status was temporary until the conditions were right for statehood. That was the Northwest Ordinance incorporated territory model and it worked just fine for 30 territories that became states in that way. Then territorial law became a little more complicated when we acquired sovereignty over Alaska, the Philippines, Puerto Rico and Hawaii. The organic laws Congress enacted to govern these territories created a good deal of confusion and ended up in the U.S. Supreme Court. The court decided that Alaska and Hawaii were incorporated territories under the U.S. Constitution, based on Northwest Ordinance model, because Congress had conferred U.S. citizenship to the people of Alaska and Hawaii. However, the Philippines and Puerto Rico were to be governed by Congress without extension of the U.S. Constitution because Congress had not extended U.S. citizenship. Accordingly, Congress adopted and eventually implemented a policy leading to independence for the Philippines. However, in the meantime Congress extended U.S. citizenship to Puerto Rico. This should have triggered the same result it did earlier for Alaska and Hawaii, including extension of the U.S. Constitution and incorporation into the union under a policy leading to eventual statehood. However, instead of following its own precedent in the Alaska and Hawaii cases, the new Supreme Court justices who decided the Puerto Rico case ruled that Congress could extend citizenship but not the U.S. Constitution, and still govern Puerto Rico in the same manner as it did the Philippines when it had a non-citizen population and was on its way to independence. More than anything else, that flawed judicial ruling is the source of the problem Congress is having on resolving the matter of political status for Puerto Rico. The White House report on Puerto Rico's status correctly calls on Congress to establish a self-determination process that restores the historical integrity of federal territorial law and policy by enabling Puerto Rico to choose a path leading to statehood or separate nationhood, which now can include either independence or a status recognized under later U.N. decolonization standards and known as free association. In the meantime, we need to recognize that historically and legally Puerto Rico's status is a judicially imposed anomaly, and like most anomalies it has unintended consequences for the nation and the residents of Puerto Rico. Although ratified by Congress through statutory policies accepting the ``unincorporated territory'' doctrine created by court ruling, Congress has never come to grips with the fundamental question of what ordered scheme of liberty, what rights and duties, exist for U.S. citizens in an unincorporated territory. Instead, because the courts gave Congress permission to govern U.S. citizens in unincorporated territories without extending the U.S. Constitution, and to govern U.S. citizens in Puerto Rico the same way Congress governed non-citizens in the Philippines prior to its independence, Congress went ahead an extended U.S. citizenship to the populations of other unincorporated territories. And why not? The ruling of the U.S. Supreme Court in the case of Puerto Rico made conferral of U.S. citizenship a consequence free activity. Or, did it? To understand what we have done by deviating from the Alaska and Hawaii precedents, to understand what Justice Taft did when he wrote an opinion based on his personal intellectual preferences instead of the doctrine of stare decisis embodied in the Supreme Court's ruling on Alaska and Hawaii, we need to look at exactly what we have wrought in Puerto Rico. If Puerto Rico chooses separate nationhood, then conferral of U.S. citizenship will end. But if the people of Puerto Rico choose to retain American citizenship, Congress must enable, and perhaps even require, the residents of Puerto Rico and the nation to complete the transition to full and equal status through statehood. I am pleased that the Chairman has called for this hearing today and I hope that we can move forward with legislation in the next Congress to address this difficult situation. The Chairman. Thank you very much. Senator Burr. Have it duly noted that I did not use all the time. The Chairman. You didn't do it in half the time, but we're not going to argue. See, it just shows you with 32 seconds left, so we used a lot more than half of 5. Oh, all right. Now, ladies and gentlemen, we're going to proceed now, in the following manner: Kevin Marshall, Deputy Assistant Attorney General, Office of Legal Counsel, is going to testify now; and then he will be followed by the Honorable Governor of the Commonwealth of Puerto Rico; and then there will be two witnesses with the Governor; and then the Congressman, two Congressmen will join together and they will become the next panel. So we might proceed, Mr. Marshall, how much time do you need to explain the position of the executive branch? Mr. Marshall. Five minutes, if I get it just right. The Chairman. Oh, you don't need to be in that much of a hurry. This is very important. We're going to give you 10 minutes and you talk slow. [Laughter.] The Chairman. Thank you very much, Mr. Marshall. STATEMENT OF C. KEVIN MARSHALL, DEPUTY ASSISTANT ATTORNEY GENERAL, OFFICE OF LEGAL COUNSEL, DEPARTMENT OF JUSTICE Mr. Marshall. Thank you, Mr. Chairman and Ranking Member Bingaman, for inviting me to discuss the working report of the President's task force on Puerto Rico's Status. I'm a Deputy Assistant Attorney General in the Justice Department's Office of Legal Counsel. As the Attorney General's designee on the task force, I serve as its co-chair along with the Deputy Assistant to the President and Director for Intergovernmental Affairs, Ruben Barrales. The status of Puerto Rico and the options regarding that status have been issues for many years. President George H. W. Bush, in a 1992 memorandum, recognized that Puerto Rico's current commonwealth stature grants it significant self- government authority, described Puerto Rico as a territory, and directed that it be treated like a State. President Clinton, in establishing the task force in 2000, made it the policy of the executive branch to help answer the questions that the people of Puerto Rico have asked for years regarding the options for the island's future status and the process of realizing an option. The task force was required to consider and develop positions on proposals, without preference among the options, for the commonwealth's future status. Its recommendations are limited, however, to those options permitted by the Constitution. In establishing the task force, President Clinton also expressly recognized that Puerto Rico's ultimate status has not been determined and noted the different visions for that status within Puerto Rico. Although Puerto Rico held a plebiscite in 1998, none of the proposed status options received a majority. Indeed, none of the above prevailed because of objection to the ballot definition of the commonwealth option. Some in Puerto Rico have proposed a new commonwealth status. That, among other things, could not be altered without the mutual consent of Puerto Rico and the Federal Government. In October 2000, a few months before President Clinton established the task force, William Treanor, who held the same position in the Office of Legal Counsel that I now hold, testified that such a proposal was not constitutional. Seeking to determine the constitutionally permissible options and recommend a process for realizing one of the options, the task force considered all status options objectively, without prejudice. We sought input from all interested parties and met with anyone who requested a meeting. The task force issued its report last December and concluded that there were three general options under the Constitution for Puerto Rico's status: One, continue its current status as a largely self-governing territory; two, admit Puerto Rico as a State; or three, make Puerto Rico independent. The primary question regarding options is whether the Constitution allows a commonwealth status that could be altered only by mutual consent. Since 1991, the Justice Department has consistently taken the position the Constitution does not. The task force report reaches that conclusion as well. The report, of course, is not a legal brief, but it does outline the reasoning and includes, as appendixes, two extended analyses by the Clinton Justice Department, one of which was sent to this committee in 2001. Thus, the new commonwealth position, as the task force understands it, is not consistent with the Constitution. Any promises that the United States might make regarding Puerto Rico's status as a commonwealth would not and could not be binding on a future Congress. Puerto Rico may remain in its current status indefinitely, but it would remain subject to Congress's authority under the Constitution to regulate U.S. territories. The report provides additional details on the other two permissible options, statehood and independence. Additional copies of the report have been provided to the committee for your convenience. With regard to process, the task force sought to ascertain the will of the people of Puerto Rico in a way that provides clear guidance for future action by Congress. The key is to provide clear guidance, first to speak unambiguously about the constitutional options and second, to structure the process so that popular majorities are likely. The task force therefore recommends a two-step process. The first step is simply to determine whether the people of Puerto Rico wish to remain as they are. We recommend that Congress provide for a federally sanctioned plebiscite on this question. If the vote is to remain as a territory, then the second step would be periodic plebiscites to inform Congress of any change in views. If the first vote is to change Puerto Rico's status, then the second step would be another plebiscite in which the people would choose between statehood and independence. Consistent with our presidential mandate, this recommended process does not seek to prejudice the outcome, even though it is structured to produce a clear outcome. Puerto Ricans have before voted by a majority to remain as a commonwealth. They may do so again. In addition, the process does not preclude action by Puerto Rico itself to express its views. At the first step, the task force recommends a plebiscite to occur on a date certain. If Congress wished to ensure that some action occurred, but not preclude local initiative, it could allow a sufficient period before that date certain. Thank you for this opportunity to share the views of the task force. I have submitted my written statement for the record and I look forward to taking your questions. [The prepared statement of Mr. Marshall follows:] Prepared Statement of C. Kevin Marshall, Deputy Assistant Attorney General, Office of Legal Counsel, Department of Justice Thank you, Mr. Chairman and Ranking Member Bingaman, for inviting me to discuss the work and report of the President's task force on Puerto Rico's Status. President Clinton established the Task Force in December 2000, and President Bush has continued it through amendments of President Clinton's Executive Order. The Task Force consists of designees of each member of the President's Cabinet, and the Deputy Assistant to the President and Director for Intergovernmental Affairs, Ruben Barrales. I am a Deputy Assistant Attorney General in the Justice Department's Office of Legal Counsel. As the Attorney General's designee on the Task Force, I serve as its Co-Chair, along with Mr. Barrales. The status of Puerto Rico, and the options regarding that status, have been issues for many years. In 1992, for example, President George H.W. Bush issued a Memorandum that recognized Puerto Rico's popularly approved Commonwealth structure as ``provid[ing] for self-government in respect of internal affairs and administration,'' described Puerto Rico as ``a territory,'' and directed the Executive Branch to treat Puerto Rico as much as legally possible ``as if it were a State.'' He also called for periodically ascertaining ``the will of its people regarding their political status'' through referenda. President Clinton, in his order establishing the Task Force, made it the policy of the Executive Branch ``to help answer the questions that the people of Puerto Rico have asked for years regarding the options for the islands' future status and the process of realizing an option.'' He charged the Task Force with seeking to implement that policy. We are required to ``consider and develop positions on proposals, without preference among the options, for the Commonwealth's future status.'' Our recommendations are limited, however, to options ``that are not incompatible with the Constitution and basic laws and policies of the United States.'' On the same day that he issued his Executive Order, President Clinton also issued a Memorandum for the Heads of Executive Departments and Agencies regarding the Resolution of Puerto Rico's status. That memorandum added that ``Puerto Rico's ultimate status has not been determined'' and noted that the three major political parties in Puerto Rico were each ``based on different visions'' for that status. Although Puerto Rico held a plebiscite in 1998, none of the proposed status options received a majority. Indeed, ``None of the Above'' prevailed, because of objection to the ballot definition of the commonwealth option. Some in Puerto Rico have proposed a ``New Commonwealth'' status, under which Puerto Rico would become an autonomous, non-territorial, non-State entity in permanent union with the United States under a covenant that could not be altered without the ``mutual consent'' of Puerto Rico and the federal Government. In October 2000, a few months before President Clinton established the Task Force, the House Committee on Resources held a hearing on a bill (H.R. 4751) incorporating a version of the ``New Commonwealth'' proposal. William Treanor, who held the same position in the Office of Legal Counsel that I now hold, testified that this proposal was not constitutional. Thus, the Task Force's duties were to determine the constitutionally permissible options for Puerto Rico's status and to provide recommendations for a process for realizing an option. We had no duty or authority to take sides among the permissible options. The Task Force considered all status options, including the current status and the New Commonwealth option, objectively and without prejudice. We also attempted to develop a process for Congress to ascertain which of the constitutional options the people of Puerto Rico prefer. We sought input from all interested parties, including Governor Acevedo-Vila. The members met with anyone who requested a meeting. I myself had several meetings with representatives of various positions, and also received and benefited from extensive written materials. The Task Force issued its report last December and concluded that there were three general options under the Constitution for Puerto Rico's status: (1) continue Puerto Rico's current status as a largely self-governing territory of the United States; (2) admit Puerto Rico as a State, on an equal footing with the existing 50 States; or (3) make Puerto Rico independent of the United States. As indicated in my discussion of the 1998 plebiscite and the origins of the Task Force, the primary question regarding options was whether the Constitution currently allows a ``Commonwealth'' status that could be altered only by ``mutual consent,'' such that Puerto Rico could block Congress from altering its status. Since 1991, the Justice Department has, under administrations of both parties, consistently taken the position that the Constitution does not allow such an arrangement. The Task Force report reiterates that position, noting that the Justice Department conducted a thorough review of the question in connection with the work of the Task Force. The report is of course not a legal brief. But it does outline the reasoning, and it includes as appendices two extended analyses by the Clinton Justice Department. The second of these is a January 2001 letter to this Committee, a copy of which was sent to the House Committee on Resources on the same date. The report also cites additional materials such as Mr. Treanor's testimony and the 1991 testimony of the Attorney General. The effect of this legal conclusion is that the ``New Commonwealth'' option, as we understand it, is not consistent with the Constitution. Any promises that the United States might make regarding Puerto Rico's status as a commonwealth would not be binding. Puerto Rico would remain subject to Congress's authority under the Territory Clause of the Constitution ``to dispose of and make all needful Rules and Regulations respecting the Territory . . . belonging to the United States.'' Puerto Rico receives a number of benefits from this status, such as favorable tax treatment. And Puerto Rico may remain in its current Commonwealth, or territorial, status indefinitely, but always subject to Congress's ultimate authority to alter the terms of that status, as the Constitution provides that Congress may do with any U.S. territory. The other two options, which are explained in the report, merit only brief mention here. If Puerto Rico were admitted as a State, it would be fully subject to the U.S. Constitution, including the Tax Uniformity Clause. Puerto Rico's favorable tax treatment would generally no longer be allowed. Puerto Rico also would be entitled to vote for presidential electors, Senators, and full voting Members of Congress. Puerto Rico's population would determine the size of its congressional delegation. As for the third option of independence, there are several possible ways of structuring it, so long as it is made clear that Puerto Rico is no longer under United States sovereignty. When the United States made the Philippines independent in 1946, the two nations entered into a Treaty of General Relations. Congress might also provide for a closer relationship along the lines of the ``freely associated states'' of Micronesia, the Marshall Islands, and Palau. The report explains, with a few qualifications, that, ``[a]mong the constitutionally available options, freely associated status may come closest to providing for the relationship between Puerto Rico and the United States that advocates for `New Commonwealth' status appear to desire.'' With regard to process, the Task Force focused on ascertaining the will of the people of Puerto Rico. In particular, we sought to ascertain that will in a way that, as the report puts it, ``provides clear guidance for future action by Congress.'' The keys to providing clear guidance are, first, to speak unambiguously about the options the Constitution allows and, second, to structure the process so that popular majorities are likely. The inconclusive results of the 1998 plebiscite, as well as an earlier one in 1993, did not strike us as providing clear guidance to Congress. We therefore have recommended a two-step process. The first step is simply to determine whether the people of Puerto Rico wish to remain as they are. We recommend that Congress provide for a federally sanctioned plebiscite in which the choice will be whether to continue territorial status. If the vote is to remain as a territory, then the second step, one suggested by the first President Bush's 1992 memorandum, would be to have periodic plebiscites to inform Congress of any change in the will of the people. If the first vote is to change Puerto Rico's status; then the second step would be for Congress to provide for another plebiscite in which the people would choose between statehood and independence, and then to begin a transition toward the selected- option. Ultimate authority of course remains with Congress. Two points about this recommended process merit brief explanation. First, consistent with our presidential mandate, it does not seek to prejudice the outcome; it is structured to produce a clear outcome. At least once before, Puerto Ricans have voted by a majority to retain their current Commonwealth status. They may do so again. But it is critical to be clear about that status. Second, our recommended process does not preclude action by Puerto Rico itself to express its views to Congress. At the first step, we recommend that Congress provide for the plebiscite ``to occur on a date certain.'' We did not, of course, specify that date. But if Congress wished to ensure that some action occurred but not preclude the people of Puerto Rico from taking the initiative, it could allow a sufficient period for local action before that ``date certain.'' If such action occurred and produced a clear result, there might be no need to proceed with the federal plebiscite. The Task Force knows well the importance of the status question to the loyal citizens of Puerto Rico and to the nation as a whole. We appreciate the Committee's commitment to this matter and the opportunity to share our views. Senator Craig [presiding]. Well, Kevin, thank you very much for that statement. I'm sure my colleagues have questions. Senator Domenici has stepped out and will be back in a few moments, but we'll continue to proceed through the panel and to build this record. Please describe the process involved in putting the task force together. Also, please describe what Federal agencies were involved and to what extent the political parties of Puerto Rico were involved in the process. Mr. Marshall. The composition of the task force is determined by the Executive Order establishing it, under which every cabinet agency has a representative on the task force. I'm the representative of the Attorney General. Every other cabinet agency was represented. I remember your second part, what was the third part of your question? Senator Craig. Political parties. Mr. Marshall. The members of the task force, particularly my co-chair and my predecessor in my current position, met with representatives of all the political parties in Puerto Rico. Senator Craig. And your sense is by doing that they felt they had adequate input into the process? Mr. Marshall. I can't speak for them, but they did provide input. Whether they consider it adequate or not, I don't know. Senator Craig. Some have argued that there is an ``irrevocable compact'' between the United States and Puerto Rico. Can you please discuss the validity of that statement? Mr. Marshall. The task force concludes that view is incorrect. That's a view that the Justice Department first took in 1959 and was repeated many times since then. I don't think that's a fair reading of what Public Law 600 tried to do, and as we also explained, even if it had tried to do that, it would violate the Constitution. Senator Craig. So your basis for finding or viewing that as different from the earlier status was you viewed it as a violation of the Constitution, to have it interpreted as irrevocable; is that correct? Mr. Marshall. We don't think it should be interpreted as irrevocable. If it were, that would violate the Constitution. Senator Craig. OK, I see. In your testimony--in his testimony, the Governor says that one of the disturbing conclusions of the report is that the U.S. citizens born in Puerto Rico may be deprived of their citizenship at any time because of the statutory nature of it. Would you comment? Would you please make comment on that observation? Mr. Marshall. The task force addresses citizenship of Puerto Ricans only in one context, which is if Puerto Rico were to become independent. If Puerto Rico became a State, I think it's pretty obvious that Puerto Ricans would be citizens, and if Puerto Rico remains as a territory, I don't think there is any likelihood that Congress would try to revoke that citizenship, so it wasn't something we even needed to address. Senator Craig. OK. The report makes findings regarding the mutual consent provisions of a new commonwealth. Was there an analysis made of other provisions of that proposal, and if so, would you please provide it to the committee? Mr. Marshall. I'm not sure what other provisions are in question. The focus of the task force was on the constitutionality of a mutual consent provision. Senator Craig. And that was the scope of your---- Mr. Marshall. That is what we were focusing on, is what options the Constitution allows. Senator Craig. Well then, please describe the current status, in reference to your report, of the Commonwealth of Puerto Rico, that the report finds. Mr. Marshall. Our view is that constitutionally, the Commonwealth of Puerto Rico is a territory, but it is a territory that has a large amount of self-government authority with regard to its internal affairs. Senator Craig. Thank you. Mr. Chairman. The Chairman [presiding]. Thank you very much, Senator. Now I yield to Senator Bingaman. Senator Bingaman. Well, thank you very much, Mr. Chairman. Mr. Marshall, let me ask, is it your position that the report that you have helped co-chair here represents the views of the Bush administration? Do the recommendations in that report represent the views of the Bush administration or is there some difference between task force recommendations and what you believe the Bush administration supports? Mr. Marshall. The administration has not taken any public position on the task force report, but the Executive Order creating the task force didn't contemplate that the President would publicly approve or disapprove of the report. So a direct answer to your question--whether there is any difference between the administration and the task force report--I would just say I don't know. Senator Bingaman. So, at this time, we do not have a position by the administration; is that an accurate statement? Mr. Marshall. Yes. Senator Bingaman. I know in Governor Acevedo's testimony, he refers to a memorandum by Charles Cooper and Michael Reisman. Have you had a chance to review those? Do you have any response to those that you could provide, either for the record or a shortened response at this point? Mr. Marshall. Mr. Cooper, as I understood it, represented-- the Governor and I met with him and other lawyers at least twice and they provided me the memoranda in support of the new commonwealth position, particularly in support of its constitutionality. And I reviewed those and we considered those and our public response to those is the report itself. Senator Bingaman. So you disagreed with his conclusions? Mr. Marshall. Yes. Senator Bingaman. The report, the task force report, notes that the United States has established these successful free- association relationships with three new nations within the former U.S.-administered trust territory of the Pacific Islands. There are important differences, obviously, between the situation in Puerto Rico and in those areas, but I wonder if the U.S. model for free association should be more fully explored to see if it can help in developing a solution to Puerto Rico's status issue. Do you have a view on that? Mr. Marshall. What the report says is that the free association model seemed to us to come closest to what the new commonwealth position wants, within the constraints of the Constitution. As you suggest, there would be policy considerations as to whether and how that might work with regard to Puerto Rico. The one that the report flags is the large difference in population between Puerto Rico and those three Pacific territories. Senator Bingaman. OK. We have two bills that have been introduced here in the Senate, as I understand it, in response to the task force report. There is S. 2304, which would provide congressional authorization for a constitutional convention in Puerto Rico with the purpose of proposing to Congress a new compact of association or statehood or independence, and there is S. 2661, which would authorize the first plebiscite that is recommended by your task force. Could you give us any initial reaction to these proposals? Do you have any thoughts as to where Congress needs to go with these proposals? Mr. Marshall. Well, the administration hasn't taken position on either of those bills, so I don't think it would be proper for me to do that here. I would just say that to the extent the bills are consistent with what the report recommends, then the task force would think that they are good ideas. Senator Bingaman. So you would basically say that S. 2661 is consistent with the task force report? Is that what I would be led to believe? Mr. Marshall. I am not intimate enough with that bill to answer that question directly. Senator Bingaman. OK. All right. That's all I had, Mr. Chairman. The Chairman. Thank you very much, Senator. Now I believe it's time to go to Senator Martinez, if you have questions. Let's sort of get ourselves organized here. It's 3:05 and we haven't gotten to the second panel, which consists of three people who want to talk. What do you think? Do you have questions? Senator Martinez. Not of Mr. Marshall. I don't have any questions for Mr. Marshall. The Chairman. No question of this? Senator Martinez. No. The Chairman. All right. Senator Salazar, do you have any questions of Mr. Marshall? Senator Salazar. No. The Chairman. You're welcome to now. I'm not trying to-- there is time. Senator Salazar. You scare me, Senator, so---- [Laughter.] Senator Salazar. I'm kidding. The Chairman. I didn't mean to scare him. Senator Salazar. No, no, Senator, I'm satisfied. I don't have any questions. The Chairman. OK. Senator Salazar. Thank you. The Chairman. We'll come to you, sir. Senator Salazar. I think the report is self-explanatory. My own view, frankly, is that the legislative proposal that we came up with was different from what the task force recommended. And that's with respect to the legislation that we introduced. But I think that at the end of the day, this dialog is important to begin with and I think that the task force report did initiate the beginning of this dialog and it's obviously a dialog that will continue into the next Congress. So thank you, Mr. Marshall. Mr. Marshall. Thank you. The Chairman. Thank you very much. The Senator from New Jersey, Senator Menendez. Senator Menendez. Thank you, Mr. Chairman. I do have a few questions. The Chairman. Please, if you can keep the time to a minimum, I would appreciate it. Senator Menendez. Well, I will do my best, Mr. Chairman. The Chairman. Thank you very much. Senator Menendez. Mr. Marshall, how many official visits to Puerto Rico did the task force, as a body, make? Mr. Marshall. As I indicated before, the co-chairman went to Puerto Rico at least twice. Senator Menendez. So the answer to my question is none? Mr. Marshall. As an entire task force, I believe the answer is none. Senator Menendez. Puerto Ricans are U.S. citizens, are they not? Mr. Marshall. Yes. Senator Menendez. How many of them were on the task force? Mr. Marshall. None. Senator Menendez. None. Did the task force conduct any public hearings in Puerto Rico? Mr. Marshall. I don't believe it conducted formal public hearings. It met with representatives of the each of the political parties. Senator Menendez. And respecting the leadership of all those political parties, the people of Puerto Rico did not have a say? Did you not conduct any public hearings so that people in Puerto Rico could have a say? Mr. Marshall. Well, I believe the people of Puerto Rico select the leaders of those political parties. Senator Menendez. Do we not have public hearings where U.S. citizens can come and express their views on different matters? So the bottom line is, you had no public hearings? Mr. Marshall. I don't think so, no. Senator Menendez. I find it hard to take a report seriously when it has no participation of the Puerto Rican community, when it has no public hearings, and ultimately, it fails to listen to the views of the people whose destiny is ultimately going to be determined. I don't quite understand it. Let me ask you this: I know that your co-chair, Mr. Barrales, is not here testifying before us today, but he has largely been the public face of that task force, in terms of the trips that he took to Puerto Rico and speaking with others. Are you aware that, as the co-chair of the task force, in July 2004, he went to Puerto Rico and publicly expressed his support for Puerto Rico becoming the 51st State? Mr. Marshall. I'm not aware that he expressed public approval of statehood. I am aware that he made that trip. Senator Menendez. OK. If I were to give you a press report, would it improve your recollection? Mr. Marshall. It's not an issue of my recollection, Senator. I was not on the task force in 2004. I joined it in the spring of 2005. Senator Menendez. Oh, OK. Mr. Chairman, if I can, if we can have for the record a copy of a report that had Mr. Barrales going before a crowd of 40,000 and saying, as the head of the White House Office of Intergovernmental Affairs, that he would like to see Puerto Rico become a State. I think it is important for the record to reflect it. The Chairman. But what would the purpose be? I have no objection at all. Senator Menendez. The purpose is to--he was a co-chair of the task force. The question of the task force was, at the end of the day, to determine a process that isn't stacked. How is it that the co-chair goes and says that he is for a specific option of the three options? I think it is important for the record to reflect that. The Chairman. We're going to make--we're going to put it in the record. [The information follows:] Barrales Supports Statehood For Puerto Rico Puerto Rico Herald July 28, 2004 San Juan, July 27 (EFE)--A White House official expressed support for statehood for Puerto Rico at an event Tuesday in which thousands commemorated the 147th anniversary of the birth of pro-statehood leader Jose Celso Barbosa. Ruben Barrales, head of the White House Office of Intergovernmental Affairs, said he would like to see 51 stars on the U.S. flag. Barrales' speech before a crowd of more than 40,000 people on Barbosa square in Bayamon, a city next to San Juan, prompted approving shouts and prolonged applause. Michelle Cuevas, spokeswoman for the pro-statehood New Progressive Party, told EFE that Barrales attended the event in representation of President George W. Bush, and that his statements had the backing of the White House. She could not state categorically, however, whether Barrales spoke in Bush's name. Barrales said Puerto Rico would be better off if it had a permanent relationship with the United States to help it achieve its objectives. Senator Menendez. Thank you, Mr. Chairman. My last question is, one of the issues most concerning to me in this report states that the Federal Government may relinquish U.S. sovereignty by granting independence or by ceding the territory to another nation. Doesn't that statement create the potential for undue panic and fear by implying that Puerto Rico can be bartered or sold at whim? Mr. Marshall. I'm unaware of any panic that has occurred since the report came out. And I would think that, as a practical matter, given that Public Law 600 has operated for over 60 years, it's not likely to create panic simply to state what the law is. Senator Menendez. Well, you know, the bottom line is that clearly you don't believe that the United States would cede Puerto Rico to another nation, do you? Is that in any way the expression of this administration's view? Mr. Marshall. No. I would say that the--after I testified at the House and received some questions on that question, what we said is, there is a difference between what is technically legally permissible and what is desirable or wise or---- Senator Menendez. Let me ask you one last question. Do you really--just to clear the record, do you see any circumstances under which Puerto Ricans, as U.S. citizens, those who have worn the uniform of the United States for a long history, would, in fact, lose their citizenship, short of seeking a status of independence? Even in that case, would you see any way in which they would lose their citizenship in the United States? Mr. Marshall. Short of seeking independence, no. If there were independence, it would be a question that would need to be resolved in figuring out the details of independence. Senator Menendez. Thank you, Mr. Chairman. The Chairman. Thank you very much. Senator, if you had any additional questions that you would like submitted to the witness for him to answer during the next 30 days-- Senator Menendez. I do, Mr. Chairman. The Chairman. We will just do that. Let the record reflect if the Senator desires to ask additional questions of you, Mr. Marshall, you can have 30 days to do it and you'll have 10 days to return questions, if you would. Mr. Marshall. That sounds fair. The Chairman. If it's not fair, it's too bad. [Laughter.] The Chairman. Isn't that right? Senator Menendez. Absolutely. I'm with you. The Chairman. We've established the rules here. We don't ask questions. Senator Menendez. That's why I said they are fair. The Chairman. All right. So now, we're going to go to Senator Salazar. Senator, we haven't heard from you. Do you want to inquire? If you have any questions you might submit for him to answer---- Senator Salazar. I might have some written questions that I might submit, but I haven't had time. The Chairman. All right. Thank you very much, Mr. Marshall. You are excused. Mr. Marshall. Thank you. The Chairman. We'll have the next witnesses please come up and take your seats at the table. Panel No. 2. The Honorable Anibal Acevedo--is it Vee-yo or Villa? Governor Acevedo-Vila. It's Vila. The Chairman. Vila. The Governor of the Commonwealth of Puerto Rico, San Juan, Puerto Rico. The Honorable Luis Fortuno, U.S. Congressman, thank you, sir. And the third is the Honorable Ruben Berrios Martinez, President, Puerto Rican Independent Party, San Juan, Puerto Rico. Did I say your name correctly? Bueno. Gracias. Vayamos, adelante, no? Eso no es, esta bien, excusame, no puedo hablar muy bien, vamos a comenzamos con el govenador. The Chairman. Thank you very much for joining us and for all the time and trouble you've gone to come here today. Please proceed. STATEMENT OF HON. ANIBAL ACEVEDO-VILA, GOVERNOR OF PUERTO RICO Governor Acevedo-Vila. Muchas gracias. Thank you, Mr. Chairman and Mr. Ranking Member and all the other members. For the record, my name is Anibal Acevedo-Vila. I am the Governor of Puerto Rico and also the President of the Popular Democratic Party. Along with my testimony, I am submitting, for the record, two legal studies that ought to be read carefully by all members of this Committee. One is a memorandum on the constitutionality of the commonwealth, prepared by Charles Cooper, the former head of the Office of Legal Counsel at the U.S. Department of Justice. The other is the Reisman Memorandum, prepared by Michael Reisman, Professor of International Law at Yale Law School and one of the most respected scholars on international law and relations. These two studies compliment each other and I urge you to read them carefully. When you compare the scope of these studies with the 1-page report by the President's task force on Puerto Rico's Status, you will understand why this report cannot be the basis for any serious self-determination process. This report cannot be the basis for the future. Volumes have been written on the legal and constitutional aspect of the status of Puerto Rico; however, the report, under the title of Legal Analysis, dedicates only four and a half pages to analyze the whole legal conundrum on Puerto Rico's status. The Cooper Memorandum had been submitted to the members of the President's task force several months before the report was issued. Together with the Reisman Memorandum, which was produced after the report, you can get an in-depth understanding of both U.S. constitutional law and international law applicable to the political status of Puerto Rico. Beyond the lack of depth and real analysis, there are four conclusions that are particularly disturbing in this report. No. 1, that Congress can directly legislate and change the island government structure unilaterally. The logical consequences of this conclusion is that this Congress can abolish the Puerto Rico legislation, fire the Governor, and tomorrow, appoint an emperor or whoever you want to rule Puerto Rico. That is the only logical consequences of this all-or- nothing view of the territorial clause of the Constitution that the report puts forth. Second, that the Federal Government may relinquish U.S. sovereignty by sending Puerto Rico to another Nation. And I heard Mr. Marshall respond to that question. Forget about the legal analysis--even legally, that's not possible. That's an interpretation that we are a piece of land with no political rights. We're not a piece of land. We're a people. And that report says that we can be given for some currency to China or maybe we might be the solution in Iraq. No. 3, that the U.S. citizens born in Puerto Rico may be deprived of their citizenship at any time because of the statutory nature of it. And I also heard a response to that, and actually, that was a clear contradiction of the principle that one Congress cannot buy the next one, because when he was pressed, he said, no, no, no, that's only in the case of independence. But Puerto Rico was a territory until 1917 with no U.S. citizenship. So if you think it is good, that report, that means that tomorrow--that report is telling you that you have the power, tomorrow, to pass another law saying that we are no longer U.S. citizens. I bet anyone to do that and see what the Supreme Court of the United States would do with that. Fourth, that the Constitution somehow prohibits the U.S. Government from entering into a relationship with Puerto Rico based on mutual consent. The Cooper Memorandum explains in great detail just how ridiculous and legally wrong is the mantra repeated in their report that Congress may not bind itself to a relationship based on mutual consent. The Reisman Memorandum discusses not only the applicable U.S. constitutional law, but also international law, and reaches similar conclusions. The authors of the report attempt to unjustifiably limit the options available to the people of Puerto Rico in order to create an artificial majority for its statehood. This report does not provide the basis of any legitimate process of self-determination. As of today, 11 months after the publication of the report, President Bush has not said a word about it. The President is silent and with good reasons. I respect the fact that many Puerto Ricans have legitimate reasons to favor full independence or statehood. I am willing to debate in any public forum why I think the autonomous alternative for commonwealth is the best choice today for Puerto Rico. I'm willing to let the people decide their future status to what is truly a democratic process, but no Puerto Ricans should be forced to accept the premises and conclusions of this report, no matter what political advantage they might think they can get out of it. What's the next step? The problem with the report is that they lay out a twisted process for a referendum that will unfairly stack the deck in favor of statehood. You need to understand, in every plebiscite with the three options, commonwealth has been the winner--46, 48, 49 percent--second, statehood, and in third place, independence. By laying out a process in which it is yes or no to commonwealth--not only using their ill-defined way to describe it, but even if it were in a definition acceptable to us--what you will be doing is adding the second and the third place to defeat the first place and then have a run of election between the second and the third one in which the winner takes all. That's not only undemocratic, that's un-American. And I am here to call this Senate to give the people of Puerto Rico a fair process. The bill introduced by Senator Burr, Senator Lott, Senator Menendez, and Senator Kennedy gives that to the people of Puerto Rico. It only says we, Congress, recognize that you have the self-determination right; that we, Congress, recognize that you can call a constitutional convention and once through that process, you make a decision, and we will respond. It's a fair process, it's an inclusive process, and it's a process that will start in Puerto Rico, not a process like the one recommended by this report in which Congress, if they are following that recommendation would basically be making that decision of the final outcome on behalf of the people of Puerto Rico. And that's a decision that should be all the time in the hands of the people of Puerto Rico. Thank you. [The prepared statement of Governor Acevedo-Vila follows:] Prepared Statement of Hon. Anibal Acevedo-Vila, Governor of Puerto Rico Mr. Chairman and Members of this Committee: My name is Anibal Acevedo-Vila. I am the Governor of Puerto Rico and President of the Popular Democratic Party. It is a pleasure to be back here. As you all know, I served in the U.S. House of Representatives as the Resident Commissioner from Puerto Rico from 2001-2004 and I am truly glad to be back. I appreciate the interest that this Committee has shown in dealing with such an important issue for all Puerto Ricans. Along with my testimony, I am submitting for the record two legal studies that ought to be read carefully by all the members of this Committee. One is a memorandum on the constitutionality of the Commonwealth prepared by Charles J. Cooper, a former head of the Office of Legal Counsel at the U.S. Department of Justice. The other is a recent memorandum prepared by W. Michael Reisman, Professor of International Law at Yale Law School and one of the most respected scholars on international law and relations. These two studies complement each other and I urge you to read them carefully. When you compare the scope and depth of these studies with the 14 page Report by the President's task force on Puerto Rico Status, you will understand why this report cannot be the basis for any serious self-determination process. It has been a long journey for the Puerto Rican people. This Report cannot be the basis for the future. I sincerely hope that this hearing is only the beginning of a broad and inclusive process, not limited to the political parties. The status of Puerto Rico is such a fundamental issue for us that I urge you to be as inclusive as possible. And more importantly, I hope that these efforts result in a true Self Determination process. The topic of this hearing is the Report issued by the President's task force on Puerto Rico's Status on December 22, 2005. First, let me focus on some-of the legal conclusions of the report that are most questionable. Volumes have been written on the legal and constitutional aspects of the status of Puerto Rico. The scholarly debate is rich, complex and extensive. However, the Report under the title of Legal Analysis, dedicates only 4 and a half pages to analyze the whole legal conundrum of Puerto Rico's status. If this was a college paper, it would get a grade of D^--and that from a lenient and merciful professor. It seems that the drafters of the Report were so eager to get to the conclusions that they forgot to support them and to discuss the applicable law altogether. The Cooper memorandum that I am submitting to the record had been submitted to the members of the President's task force several months before the report was issued. Together with the Reisman memorandum, you can get an in depth analysis of both U.S. Constitutional Law and International Law applicable to the political relationship between the United States and Puerto Rico. In light of the weight of authorities cited in these memos, it is perplexing that the Task Force Report does not even attempt to mount a legal defense of its conclusions. Some of these conclusions pretend to be supported by a 14 page Department of Justice memorandum on Guam, which as you will see is completely discredited by the thorough legal analysis in the Cooper and Reisman memoranda. Beyond the lack of depth and real analysis, there are 4 conclusions that are particularly disturbing of this Report. i. that congress can directly legislate and change the island's governmental structure unilaterally The logical consequence of this conclusion is that this Congress can abolish the Puerto Rico legislature, fire the Governor and appoint an Emperor. That is the only logical consequence of this formalistic-- all or nothing--view of the territorial clause of the Constitution that the report puts forth. ii. that the federal government may relinquish u.s. sovereignty by ceding puerto rico to another nation Another logical consequence of this conclusion is that maybe you can trade us to the People's Republic of China for some currency value concessions. It is embarrassing that in this day and age, Federal officials will put such a conclusion on paper. It really calls into question the seriousness of this entire exercise. iii. that the u.s. citizens born in puerto rico may be deprived of their citizenship at any time because of the statutory nature of it Here, I would like to see how the U.S. Courts will rule on an attempt to deprive Puerto Ricans in Florida and in New York of their U.S. citizenship. The analysis, or lack thereof, of the issue of citizenship is painful. The drafters of the Report adopt without discussion the legal position advocated by some that Congress can revoke the U.S. citizenship of the people of Puerto Rico because we are, allegedly, merely statutory citizens. They do this ignoring vast case law and legal scholars that sustain the contrary position. This report, at a time in which we are discussing immigration in America and the rights of foreign workers in this country, is outrageous. This report, issued in times of war when our brothers and sisters are sent into harms way in Iraq, is a shame. iv. that the constitution somehow prohibits the u.s. government from entering into a relationship with puerto rico based on mutual consent The Cooper memorandum explains in great detail just how ludicrous and legally wrong is the mantra repeated in the Report that the Congress may not bind itself to a relationship based on mutual consent. The Reisman memorandum discusses not only the applicable U.S. Constitutional Law, but also international law, and reaches similar conclusions. The task force report ignores over 200 years of precedent and current legal trends. It is our position that both, the Constitution of the United States and international law, allows the United States and the people of a territory to enter into a bilateral and binding political relationship. The authors of the Report attempt to unjustifiably limit the options available to the people of Puerto Rico in order to create an artificial majority for statehood. All of these conclusions, if adopted by the United States, would have tremendous political and legal repercussions. The Report also casts grave doubt as to the value of the commitments made by the United States to the world since in 1952 the United Nations removed Puerto Rico specifically from its list of non- self-governing territories based on representations from both the United States and Puerto Rico. General Assembly Resolution 748 (VIII) recognized ``that the people of the Commonwealth of Puerto Rico, by expressing their will in a free and democratic way, have achieved a new constitutional status'' and that ``in the framework of their Constitution and of the compact agreed upon with the United States of America, the people of the Commonwealth of Puerto Rico have been invested with attributes of political sovereignty which clearly identify the status of self-government attained by the Puerto Rican people as that of an autonomous political entity''. As Professor Reisman concludes in his memo, ``as a matter of international law . . . since 1952, Puerto Rico has ostensibly existed as a state freely associated with the United States of America.'' Puerto Rico, thereafter, attained a new status not only under international law, but also under U.S. constitutional law since it no longer could be treated as an unincorporated territory subject to the plenary powers of Congress under the Territorial Clause. Former U.N. Ambassador Jeane Kirkpatrick just couldn't make it more evident when in a recent New York Times Op-Ed stated ``quite unbelievably, the Task Force raised questions about Puerto Rico's status that reminded us of what we heard from the Cuban delegation and its communist allies'' 25 years ago. This Report does not provide the basis for any legitimate process of self-determination. As of today, eleven months after the publication of the Report, President Bush has not said a word about it. The President is silent and with good reasons. I respect the fact that many Puerto Ricans have legitimate reasons to favor full independence or statehood. I am willing to debate in any public forum why I think the autonomous alternative of the Commonwealth is the best choice today for Puerto Rico. I am willing to let the people decide their future status through a truly democratic process. But no Puerto Rican should be forced to accept the premises and conclusions of this report no matter what political advantage they may think they can get out of it. No American citizen should accept the implications of this report. Pro-statehood citizens should not favor statehood because they are threatened or scared by a purposefully biased report. Puerto Ricans should not be scared into voting for statehood because otherwise they may be ceded to Pakistan. what is the next step? The problem with the Report is that they lay out a twisted process for a referendum that would unfairly stack the deck in favor of statehood. What this report does is an outrageous mathematical exercise. In order to ignore the Commonwealth option, the proposed two- stage process adds all the possible votes against Commonwealth, to knock that option out in the first round. In every plebiscite held in Puerto Rico, Commonwealth has won. Statehood has never won. This report tries to change that by creating an artificial majority. The math is simple. If you add the second place--statehood-- to the third place--independence--then you can fabricate an artificial majority against the real majority, the Commonwealth. It is very simple, although perve
5858	dbpedia	1	52	https://democrats-naturalresources.house.gov/download/testimony-hon-gutierrez_-fc-oia-leg-hrg-61621pdf	en	The House Committee on Natural Resources	https://democrats-natura…es/sharelogo.jpg	https://democrats-natura…es/sharelogo.jpg	[ "https://democrats-naturalresources.house.gov/themes/naturalresources/images/logo7.png" ]	[]	[]	[ "" ]	null	[]	null	The House Committee on Natural Resources - Democrats - Ranking Member Raul M. Grijalva	en	https://democrats-naturalresources.house.gov/themes/naturalresources/images/favicon.ico		https://democrats-naturalresources.house.gov/download/testimony-hon-gutierrez_-fc-oia-leg-hrg-61621pdf	Download File Please wait...your file download will begin shortly.
5858	dbpedia	1	13	https://en.wikipedia.org/wiki/Independence_movement_in_Puerto_Rico	en	Independence movement in Puerto Rico	https://upload.wikimedia…_blue%29.svg.png	https://upload.wikimedia…_blue%29.svg.png	[ "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/a/ac/Flag_of_Grito_de_Lares_%28current%2C_medium_blue%29.svg/220px-Flag_of_Grito_de_Lares_%28current%2C_medium_blue%29.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/36/Coat_of_arms_of_the_Commonwealth_of_Puerto_Rico.svg/130px-Coat_of_arms_of_the_Commonwealth_of_Puerto_Rico.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/0/01/A_coloured_voting_box.svg/16px-A_coloured_voting_box.svg.png", "https://upload.wikimedia.org/wikipedia/commons/6/64/ChurchofLares.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Intentona_de_Yauco.jpg/180px-Intentona_de_Yauco.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/c/c1/Well%2C_I_hardly_know_which_to_take_first%21_5-28-1898.JPG/220px-Well%2C_I_hardly_know_which_to_take_first%21_5-28-1898.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1f/Tr-bigstick-cartoon.JPG/290px-Tr-bigstick-cartoon.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/80/Flag_of_the_Puerto_Rican_Nationalist_Party.svg/125px-Flag_of_the_Puerto_Rican_Nationalist_Party.svg.png", "https://upload.wikimedia.org/wikipedia/commons/6/66/Jose_Coll_y_Cuchi.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/2c/Albizu.jpg/145px-Albizu.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Nuvola_apps_kaboodle.svg/16px-Nuvola_apps_kaboodle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/48/Elias_Beauchamp_%281936%29.jpg/190px-Elias_Beauchamp_%281936%29.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Nuvola_apps_kaboodle.svg/16px-Nuvola_apps_kaboodle.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/27/Troops_in_Jayuya.gif/315px-Troops_in_Jayuya.gif", "https://upload.wikimedia.org/wikipedia/commons/f/f5/Filiberto_ojeda_rios_fbi_photograph_02_with_black_border.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/28/Flag_of_Puerto_Rico.svg/32px-Flag_of_Puerto_Rico.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6b/Relief_Map_of_Caribbean.png/32px-Relief_Map_of_Caribbean.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4e/1868_Lares_Revolutionay_Flag.svg/20px-1868_Lares_Revolutionay_Flag.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" ]	2004-07-18T19:32:03+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Independence_movement_in_Puerto_Rico	Initiatives by inhabitants throughout the history of Puerto Rico Throughout the history of Puerto Rico, its inhabitants have initiated several movements to gain independence for the island, first from the Spanish Empire between 1493 and 1898 and since then from the United States. Today, the movement is most commonly represented by the flag of the Grito de Lares (Cry of Lares) revolt of 1868. A spectrum of pro-autonomy, pro-nationalism, and pro-independence sentiments and political parties exist on the island. Since the beginning of the 19th century, organizations advocating independence in Puerto Rico have attempted both peaceful political means as well as violent revolutionary actions to achieve its objectives. The declaration of independence of Puerto Rico occurred on September 23, 1868 during the Grito de Lares (Cry of Lares) revolt against Spanish rule. The revolting members and followers of the Revolutionary Committee of Puerto Rico proclaimed the flag of the revolt as the national flag of an independent “Republic of Puerto Rico”, making it the first flag of Puerto Rico. However, the rebels replaced the flag with a new revolutionary flag, the current flag of Puerto Rico, in 1895. Since the second half of the 20th century, the independence movement has trailed significantly behind the pro-Commonwealth and pro-statehood movements at the ballots. In a status referendum in 2012, 5.5% voted for independence while Statehood obtained 61.1% of the votes cast.[1][2] Independence also received the least support, less than 4.5% of the vote, in the status referendums in 1967, 1993 and 1998. A fourth referendum was held in 2012, with 54% voting to change Puerto Rico's status but the federal government took no action to do so. The fifth plebiscite was held on June 11, 2017. With a voter turnout of 23%, it had the lowest turnout of any status referendum held in Puerto Rico. The independence option only received 1.52% of the vote in the referendum. In the 2020 Puerto Rican general election, the Puerto Rican Independence Party achieved 13.6% of the vote, a significant increase in support from the 2016 Puerto Rican general election when it received only 2.1% of votes.[3][4] Seeking independence from Spain [edit] Taíno revolts [edit] Some Modern Puerto Rican independence movements have claimed historic connection to the 16th century and the Taíno rebellion of 1511 led by Agüeybaná II. In this revolt, Agüeybaná II, the most powerful cacique of the native Taíno people of Puerto Rico at the time, together with Urayoán, cacique of Añasco, organized a revolt in 1511 against the conquistadors in the southern and western parts of the island. He was joined by Guarionex, cacique of Utuado, who attacked the Villa de Sotomayor (Sotomayor Village) in present-day Aguada, killing 80 Spanish settlers.[5] First explorer and governor of Puerto Rico, Juan Ponce de León, led the Spaniards in a series of offensives that culminated in the Battle of Yagüecas.[6] Agüeybaná II's people, who were armed only with spears, bows, and arrows, were no match for the guns of the Spanish forces, resulting in Agüeybaná II being shot and killed in the battle.[7] The revolt ultimately failed, and many Taíno either committed suicide or fled to the interior, mountainous regions of the island.[8][9] Puerto Rican revolts [edit] Several revolts against the Spanish rulers by the native born, or Criollos, occurred in the 19th century. These include the conspiracy at San Germán in 1809,[10] and the uprisings of people in Ciales, San Germán and Sabana Grande in 1898.[11] Many Puerto Ricans became inspired by the ideals of Simón Bolívar to liberate South America from Spanish rule. Bolívar sought to create a federation of Latin American nations, to include Puerto Rico and Cuba. Brigadier General Antonio Valero de Bernabé, also known as "The Liberator from Puerto Rico", fought for the independence of South America together with Bolívar; he also wanted an independent Puerto Rico. María de las Mercedes Barbudo, the first female Puerto Rican Independentista, joined forces with the Venezuelan government, under the leadership of Simón Bolívar, to lead an insurrection against the Spanish colonial forces in Puerto Rico.[12][13] The Spanish occupation forces were the object of more than thirty conspiracies. Some, like the Lares uprising, the riots and sedition of 1897 and the Secret Societies at the end of the 19th century, became popular rebellions. The most widespread popular revolts, however, were the one in Lares in 1868, and the one in Yauco in 1897. In 1868, the Grito de Lares (Cry of Lares) took place, in which revolutionaries occupied the town of Lares and declared the independence of the Republic of Puerto Rico on September 23, 1868. Ramón Emeterio Betances was the leader of this revolt. Earlier, Segundo Ruiz Belvis and Betances had founded the Comité Revolucionario de Puerto Rico (Revolutionary Committee of Puerto Rico) from their exile in the New York. Betances wrote several Proclamas, or statements attacking the exploitation of the Puerto Ricans by the Spanish colonial system, and called for immediate insurrection. These statements were rapidly circulated throughout the island as local dissident groups began to organize. Most dissidents were Criollos (born on the island). The critical state of the economy, along with the increasing repression imposed by the Spanish, served as catalysts for the rebellion. The stronghold of the movement were towns located on the mountains of the west of the island. The rebels looted local stores and offices owned by peninsulares (Spanish-born residents) and took over the city hall. They took as prisoners Spanish merchants and local government officials. The revolutionaries placed their revolutionary flag on the high altar of the church to signify that the revolution had begun.[14] The Republic of Puerto Rico was proclaimed, and Francisco Ramírez Medina was proclaimed interim president. The revolutionaries offered immediate freedom to any slave who would join them. In the next town, San Sebastián del Pepino, the Grito de Lares (Cry of Lares) revolutionaries encountered heavy resistance from the Spanish militia and retreated to Lares. The Spanish militia rounded up the rebels and quickly brought the insurrection to an end. The government imprisoned some 475 rebels, and a military court imposed the death penalty, for treason and sedition, on all the prisoners. But in Madrid, Eugenio María de Hostos and other prominent Puerto Ricans were successful in interceding, and the national government ordered a general amnesty and release of all the prisoners. Numerous leaders, such as Betances, Rojas, Lacroix, Aurelio Méndez and others, were sent into exile.[15] In 1896, a group of residents of Yauco who supported independence joined forces to overthrow the Spanish government in the island. The group was led by Antonio Mattei Lluberas, a wealthy coffee plantation owner, and Mateo Mercado. Later that year, the local Civil Guard discovered their plans and arrested all those involved. They were soon released and allowed to return home.[16] In 1897, Lluberas traveled to New York City and visited the Puerto Rican Revolutionary Committee, which included the exiled group from the Grito de Lares (Cry of Lares) revolt of 1868. They made plans for a major coup in Puerto Rico.[17] Lluberas returned to Puerto Rico with the new revolutionary flag of Puerto Rico adopted by the committee in 1895, the current flag of the island, to be flown at the coup.[18] The Mayor of Yauco, Francisco Lluch Barreras, learned of the planned uprising, and notified the island's Spanish governor. When Fidel Velez, one of the separatist leaders, learned that the word was out, he met with other leaders and forced them to begin the insurrection immediately.[18] On March 24, 1897, Velez and his men marched towards Yauco, planning to attack the barracks of the Spanish Civil Guard, to gain control of their arms and ammunition. At arrival, they were ambushed by Spanish forces. When a firefight broke out, the rebels quickly retreated. On March 26, a group headed by Jose Nicolas Quiñones Torres and Ramon Torres fought Spanish colonial forces (mostly island men) in a barrio called Quebradas of Yauco, but were overcome.[18] The government arrested more than 150 rebels, charged them with various crimes against the state, and sent them to prison in the City of Ponce.[19] These attacks became known as the Intentona de Yauco (Attempted Coup of Yauco). It was the first time that the flag of Puerto Rico was flown on the island.[20][21] Velez fled to St. Thomas where he lived in exile. Mattei Lluberas went into exile in New York City, joining a group known as the Puerto Rican Commission.[19] Spanish Charter of Autonomy [edit] After four hundred years of colonial rule by the Spanish Empire, Puerto Rico gained autonomy as an overseas autonomous community of Spain on November 25, 1897 through a Carta de Autonomía (Charter of Autonomy). It was signed by Spanish Prime Minister Práxedes Mateo Sagasta and ratified by the Spanish Cortes.[22][23] The newfound autonomy was short-lived, as Puerto Rico was invaded, occupied, and annexed by the United States during the Spanish-American War in 1898. Seeking independence from the United States [edit] The United States was granted possession of Puerto Rico as part of the Treaty of Paris of 1898, which concluded the Spanish–American War. After Puerto Rico became an American possession during the Spanish–American War in 1898, Manuel Zeno Gandía traveled to Washington, D.C. where, together with Eugenio María de Hostos, he proposed the idea of independence for Puerto Rico. The men were disappointed when their ideas were rejected by the US government and the island was organized as a US territory. Zeno Gandia returned to the island and continued as an activist. A number of leaders, including a well-known intellectual and legislator called José de Diego, sought independence from the United States via political accommodation. On June 5, 1900, President William McKinley named De Diego, together with Rosendo Matienzo Cintrón, José Celso Barbosa, Manuel Camuñas, and Andrés Crosas to an Executive Cabinet under U.S.-appointed Governor Charles H. Allen. The Executive Cabinet also included six American members.[24] De Diego resigned from the position in order to pursue independence. On 19 February 1904, he co-founded the Unionist Party, or the Union of Puerto Rico, the first mass party to advocate for independence for Puerto Rico in the form of a sovereign nation, along with Luis Muñoz Rivera, Rosendo Matienzo Cintrón and Antonio R. Barceló.[25][26] De Diego was elected to the House of Delegates, the only locally elected body of government then allowed by the U.S., over which De Diego presided from 1904 to 1917. The House of Delegates was subject to the U.S. President's veto power and unsuccessfully voted for the island's right to independence and self-government. It petitioned against imposition of U.S. citizenship to Puerto Ricans in 1917, but the US granted citizenship to island residents. Despite these failures, De Diego became known as the "Father of the Puerto Rican Independence Movement."[27] The newly created Puerto Rico Union Party advocated allowing voters to choose among non-colonial options, including annexation, an independent protectorate, and full autonomy. Another new party called the Puerto Rico Independence Party emerged, founded by Rosendo Matienzo Cintrón in 1912, which promoted Puerto Rico's independence. That same year, Scott Colón, Zeno Gandía, Matienzo Cintrón, and Luis Lloréns Torres wrote a manifesto for independence.[28] The Independence Party was the first party in the history of the island to openly support independence from the United States as part of its platform.[24] American business [edit] Through the 1930s, U.S. banking interests and corporations expanded their control of lands throughout Latin America.[29] Taking Puerto Rico was seen as a part of American "Manifest destiny."[30] The American government supported American corporations with military force on occasion. The profits generated by this one-sided arrangement were enormous, as US corporations developed large plantations.[31] Several years after leaving office, in 1913 Charles H. Allen, the first civilian U.S. governor of Puerto Rico, succeeded to the presidency of the American Sugar Refining Company after serving as treasurer.[32] He resigned in 1915, but stayed on the board. The company operated the largest sugar-refining operation in the world[33] and was later renamed as the Domino Sugar company.[34] According to historian Federico Ribes Tovar, Charles Allen leveraged his governorship of Puerto Rico into a controlling interest over the entire Puerto Rican economy through Domino Sugar.[29][31] American professor and activist Noam Chomsky argued in the late 20th century that, after 1898 "Puerto Rico was turned into a plantation for U.S. agribusiness, later an export platform for taxpayer-subsidized U.S. corporations, and the site of major U.S. military bases and petroleum refineries."[35] By 1930, over 40 percent of all the arable land in Puerto Rico had been converted into sugar plantations owned by Domino Sugar and U.S. banking interests. These bank syndicates also owned the insular postal system, the coastal railroad, and the San Juan international seaport.[29][31][36] Formation of the Nationalist Party [edit] In 1919, Puerto Rico had two major organizations that supported independence: the Nationalist Youth and the Independence Association. Also in 1919, José Coll y Cuchí, a member of the Union Party of Puerto Rico, left the party and formed the Nationalist Association of Puerto Rico. In 1922, these three political organizations joined forces and formed the Puerto Rican Nationalist Party, with Coll y Cuchi as party president. The party's chief goal was to achieve independence from the United States. This party contended that by international law, the Spanish had no authority under the Treaty of Paris to cede the island, as it was no longer theirs.[22][29] In 1924 Dr. Pedro Albizu Campos joined the party and was named vice-president. On May 11, 1930, Pedro Albizu Campos was elected president of the Nationalist Party. Under his leadership, in the 1930s the party became the largest independence movement in Puerto Rico. But, after disappointing electoral outcomes and strong repression by the territorial police, by the mid-1930s Albizu opted against the electoral political process. He advocated violent revolution as the means to achieve independence. In 1932, the pro-independence Liberal Party of Puerto Rico was founded by Antonio R. Barceló. The Liberal Party's political agenda was the same as that of the original Union Party, urging independence for Puerto Rico.[37] Among those who joined him in the "new" party were Felisa Rincón de Gautier and Ernesto Ramos Antonini. By 1932 Luis Muñoz Rivera's son, Luis Muñoz Marín, had also joined the Liberal Party. Muñoz Marín was eventually the first democratically elected Governor of Puerto Rico. During the 1932 elections, the Liberal Party faced the Alliance, then a coalition of the Republican Party of Puerto Rico and Santiago Iglesias Pantin's Socialist Party. Barceló and Muñoz Marín were both elected Senators. By 1936, differences between Muñoz Marín and Barceló began to surface, as well as between those followers who considered Muñoz Marín the true leader and those who considered Barceló as their leader.[38] Muñoz Marín and his followers, who included Felisa Rincón de Gautier and Ernesto Ramos Antonini, held an assembly in the town of Arecibo to found the Partido Liberal, Neto, Auténtico y Completo (Clear, Authentic and Complete Liberal Party), later named the People's Democratic Party (PPD for Spanish name). External videos Newsreel scenes of the Ponce Massacre here During the 1930s and 1940s, Nationalist partisans took part in violent incidents: On April 6, 1932, Nationalist partisans marched into the Capitol building in San Juan to protest the legislative proposal to approve the present Puerto Rican flag, the official flag of the insular government. Nationalists preferred the flag used during the Grito de Lares. On October 24, 1935, a confrontation with police at University of Puerto Rico, Río Piedras campus, killed four Puerto Rican Nationalist Party supporters and one policeman. The event came to be known as the Río Piedras massacre.[39] On February 23, 1936, Colonel Elisha Francis Riggs, formerly of the US Army and the highest police officer in the island, was assassinated in retaliation for the Río Piedras events by Nationalists Hiram Rosado and Elías Beauchamp. Rosado and Beauchamp were arrested, and summarily executed without a trial at the police headquarters in San Juan.[40] On March 21, 1937, a march in Ponce by the Puerto Rican Nationalist Party, organized to commemorate the ending of slavery in Puerto Rico, resulted in the deaths of 17 unarmed citizens and 2 policemen at the hands of the territorial police, an event known as the Ponce massacre. In 1936, the U.S. Senator Millard Tydings presented a legislative proposal to grant independence to Puerto Rico, but many people believed that it had unfavorable economic conditions.[41][42] Barceló and the Liberal Party favored the Bill, because it would give Puerto Rico its independence; Muñoz Marín opposed the Bill because he wanted Puerto Rico's immediate independence but with favorable conditions.[38] On July 25, 1938, shots were fired at the US colonial governor, Blanton Winship during a parade; they killed Police Colonel Luis Irizarry. Soon afterward, two Nationalist partisans attempted to assassinate Robert Cooper, judge of the Federal Court in Puerto Rico. Winship tried to suppress the Nationalists. On June 10, 1948, the United States-appointed Governor of Puerto Rico, Jesús T. Piñero, signed into law a bill passed by the Puerto Rican Senate, which was controlled by elected PPD representatives. It prohibited discussion of independence, militant independence activism, and significantly curtailed other Puerto Rican independence activities. The Ley de la Mordaza (Gag Law) also made it illegal to sing a patriotic song, and reinforced the 1898 law that had made it illegal to display the Flag of Puerto Rico, with anyone found guilty of disobeying the law in any way being subject to a sentence of up to ten years imprisonment, a fine of up to US$10,000 (equivalent to $127,000 in 2023), or both. Events under Commonwealth status [edit] External videos Newsreel scenes in Spanish of the Puerto Rican Nationalist Party revolts of the 1950s here The Puerto Rican independence movement took new measures after the Free Associate State was authorized. On October 30, 1950, with the new autonomist Commonwealth status about to go into effect, multiple Nationalist uprisings occurred, in an effort to focus world attention on the Movement's dissatisfaction with the new commonwealth status. They catalyzed roughly a dozen skirmishes throughout Puerto Rico including Peñuelas,[43] the Jayuya Uprising,[44] the Utuado Uprising, the San Juan Nationalist revolt, and other shootouts in Mayagüez, Naranjito, and Arecibo. During the 1950 Jayuya Uprising, Blanca Canales declared Puerto Rico a free republic. Two days after the creation of the Commonwealth, two Nationalists attempted to assassinate US President Harry S. Truman in Washington, DC. Acknowledging the importance of the question of Puerto Rican status, Truman supported a plebiscite in Puerto Rico in 1952 on the new constitution, to determine the status of the island's relationship to the U.S.[45] The people voted by nearly 82% in favor of the new constitution and Free Associated State, or Commonwealth.[46] Nationalists criticized the constitution because the Commonwealth was subject to US laws and to approval by the US executive and legislative branches of government, branches which Puerto Ricans did not participate in electing. As the government suppressed the Nationalist leaders, their political activities and influence waned.[47] In the 1954 United States Capitol shooting incident, four nationalists opened fire on US Representatives during a debate on the floor of the US Congress, wounding five men, one seriously. The Nationalists were tried and convicted in federal court and sentenced effectively to life imprisonment. In 1978 and 1979, their sentences were commuted by President Jimmy Carter to time served, and they were allowed to return to Puerto Rico. In the 1960s, the United States received international condemnation for holding onto the world's oldest colony.[48] By the 1960s, a new phase of the Puerto Rican independence movement began. Several organizations began to use "clandestine armed struggle" against the US government. Underground "people's armies" such as Movimiento Independentista Revolucionario en Armas (MIRA),[49] Comandos Armados de Liberación (CAL),[50] Fuerzas Armadas de Liberación Nacional (FALN), Organización de Voluntarios por la Revolución Puertorriqueña (OVRP),[51] The Ejército Popular Boricua (EPB), and others began engaging in subversive activities against the US government and military to bring attention to the colonial condition of Puerto Rico. In 1977, Rubén Berríos Martínez, then the President of the Puerto Rican Independence Party, wrote a long and detailed article in Foreign Affairs that declared that the 'only solution' was independence for Puerto Rico.[52] Political support [edit] A number of social groups, political parties, and individuals worldwide have supported the concept of Puerto Rican independence. On the island itself, it is a fringe but intense movement, with the Washington Post reporting that "calls for Puerto Rico's independence have existed since the days of Spanish colonial rule and continued after the United States seized control of the island in 1898 ... although many Puerto Ricans express deep patriotism for the island, the independence impulse has never translated in the polls."[53] The Democratic Party in the United States asserted in its 2012 platform that it "will continue to work on improving Puerto Rico's economic status by promoting job creation, education, health care, clean energy, and economic development on the Island."[54] The Republican Party asserts that it "support[s] the right of the United States citizens of Puerto Rico to be admitted to the Union as a fully sovereign state if they freely so determine," that Congress should "define the constitutionally valid options for Puerto Rico" to gain permanent non-territorial status, and said that, while Puerto Rico's status should be supported by a referendum sponsored by "the U.S. government."[55] Neither of the two major parties in Puerto Rico supports independence: the Popular Democratic Party supports the current status of Puerto Rico as a self-governing unincorporated territory, and the New Progressive Party of Puerto Rico supports statehood. Minority parties have expressed different positions: in 2005, Communist Party USA passed a resolution about Puerto Rico, condemning American imperialism, "colonialism," etc., while stating that "the Communist Party of the USA ... continues its support for independence of Puerto Rico and the transfer of all sovereign powers to Puerto Rico."[56] Their platform supported the people's "acquisition of their internationally recognized right to independence and self-determination ..."[57] In 2012, the Green Party of the United States had a platform supporting independence.[58] Socialist Party USA does not support independence for Puerto Rico, but calls for "full representation for the U.S. territories of Guam and Puerto Rico, all Native American reservations, and the District of Columbia."[59] During the summit of the Community of Latin American and Caribbean States in Havana, Cuba in January 2014, Nicolas Maduro, the President of Venezuela, told The Wall Street Journal that he supported Puerto Rican independence, saying that "it's an embarrassment that Latin America and the Caribbean in the 21st century still have colonies. Let the imperial elites of the U.S. say whatever they want."[60][61] Also at this summit, the president of Argentina, Cristina Fernández de Kirchner, pledged to vote for independence of Puerto Rico; and Raúl Castro "called for an independent Puerto Rico."[60] Other individuals and groups supporting Puerto Rican independence have included: poet Martín Espada, professor and writer Jason Ferreira, the group Calle 13, FALN leader Oscar López Rivera, Roberto Barreto, a member of Organizacion Socialista Internacional; Puerto Rican nationalist Carlos Alberto Torres, and US Representative Luis Gutiérrez.[62][63][64][65][66][67] In March 2023, Cuba reiterated its commitment to self-determination and independence of the people of Puerto Rico.[68] 20th century to present [edit] Levinson and Sparrow in their 2005 book suggest the Foraker Act (Pub. L.Tooltip Public Law (United States) 56–191, 31 Stat. 77, enacted April 12, 1900), and the Jones–Shafroth Act (Pub. L.Tooltip Public Law (United States) 64–368, 39 Stat. 951, enacted March 2, 1917) reduced political opposition in the island, as they vested the U.S. Congress with authority and veto power over any legislation or referendum initiated by Puerto Rico.[69][70] Founded in 1922, the Puerto Rican Nationalist Party worked for independence. In 1946, Gilberto Concepción de Gracia founded the Puerto Rican Independence Party (PIP). It has continued to participate in the island's electoral process. In the mid-century, the "Cointelpro program" was a project conducted by the United States Federal Bureau of Investigation (FBI) to surveil, infiltrate, discredit, and disrupt domestic political organizations which it classified as suspect or subversive. The police documented thousands of extensive carpetas (files) concerning individuals of all social groups and ages. Approximately 75,000 persons were listed as under political police surveillance. Historians and critics found that the massive surveillance apparatus was directed primarily against Puerto Rico's independence movement. As a result, many independence supporters moved to the Popular Democratic Party to support its opposition to statehood.[71] In the 21st century, a majority of Independentistas seek to achieve independence either through peaceful political means or violent revolutionary actions. The Independence Party has elected some legislative candidates, but in recent elections has not won more than a small percentage of votes for its gubernatorial candidates (2.04% in 2008) or the legislative elections (4.5-5% of the island-wide legislative vote in 2008).[72] In March 2023, a diaspora group petitioned the United States Congress to create an American-Puerto Rican Commission to promote the decolonization and independence of Puerto Rico from the United States of America.[73] In April 2023, Puerto Rico's Status Act, which seeks to resolve its territorial status and relationship with the United States through a binding plebiscite at the federal level, was reintroduced in the House by Democrats.[1]. United Nations' view [edit] Main article: Special Committee on Decolonization Since 1953, the United Nations has been considering the Political status of Puerto Rico and how to assist it in achieving "independence" or "decolonization". In 1978, the Special Committee determined that a "colonial relationship" existed between the US and Puerto Rico.[74] Note that the UN's Special Committee has often referred to Puerto Rico as a nation in its reports, because, internationally, the people of Puerto Rico are often considered to be a Caribbean nation with their own national identity.[75][76][77] Most recently, in a June 2016 report, the Special Committee called for the United States to expedite the process to allow self-determination in Puerto Rico. More specifically, the group called on the United States to expedite a process that would allow the people of Puerto Rico to exercise fully their right to self-determination and independence: "allow the Puerto Rican people to take decisions in a sovereign manner, and to address their urgent economic and social needs, including unemployment, marginalization, insolvency and poverty".[78] 2012 status referendum [edit] The main political parties in Puerto Rico have supported a continuing relationship with the United States and been supported by the electorate. By the 1940s, voters had elected a majority of Partido Popular Democrático (PPD) members in the legislature. In 1952, they voted by nearly 82% in support of the new constitution of the Estado Libre Associado or Commonwealth. Sixty years later, a majority of those who voted on the second question of a 2012 referendum, to indicate what type of arrangement they preferred, voted to seek admission as a state into the United States. 61.16% voted for statehood, 33.34% voted for free association and 5.49% voted for independence. Hundreds of thousands of voters abstained from the question, so the proportion of voters for statehood was actually 45% of the total eligible electorate rather than a majority.[79] In a status referendum in 2012, which had a two-part vote, 5.5% voted for independence.[1][2] Analysts noted that the results were ambiguous because of issues related to the structure of questions and supporters of the commonwealth status urging voters to abstain from voting on the second question. Journalist Roque Planas, co-founder of the Latin American News Dispatch, wrote as an editor in HuffPost: Similarly, as reported by the New York Daily News, Juan Gonzalez, journalist and a co-host of the TV show Democracy Now! said: In October 2013, The Economist reported on the island economy's "dire financial straits."[82] Referring to the 2012 referendum, it said that "Puerto Rico is unlikely to become a state any time soon. Because the island remains a territory, the decision is ultimately out of boricuas' hands ... the legislature is highly unlikely to prioritise a Puerto Rican statehood bill ... the Republican Party would surely use every tactic at its disposal to block a statehood bill," as the island voters have been overwhelmingly supportive of Democratic Party presidential candidates and could be expected to vote for the same party for Congressional seats if statehood were approved by Congress.[82] The Washington Post reported in December 2013 that, since Puerto Ricans became US citizens in 1917, they have "been divided over their relationship with the mainland" on whether to become a US state, become independent, or a self-governing territory under US control.[83] 2017 status referendum [edit] The previous plebiscites provided voters with three options: statehood, free association, and independence. The 2017 referendum offered three options: Statehood, Commonwealth and Independence/Free Association. If the majority vote for the latter, a second vote will be held to determine the preference: full independence as a nation or associated free state status with independence but with a "free and voluntary political association" between Puerto Rico and the United States.[84] The White House Task Force on Puerto Rico offers the following specifics: "Free Association is a type of independence. A compact of Free Association would establish a mutual agreement that would recognize that the United States and Puerto Rico are closely linked in specific ways as detailed in the compact. Compacts of this sort are based on the national sovereignty of each country, and either nation can unilaterally terminate the association."[85] The content of the Compact of Free Association might cover topics such as the role of the US military in Puerto Rico, the use of the U.S. currency, free trade between the two entities, and whether Puerto Ricans would be U.S. citizens.[86] Former Governor Ricardo Rosselló was strongly in favor of statehood to help develop the economy and help to "solve our 500-year-old colonial dilemma ... Colonialism is not an option . ... It's a civil rights issue ... 3.5 million citizens seeking an absolute democracy," he told the news media.[87] Benefits of statehood include an additional $10 billion per year in federal funds, the right to vote in presidential elections, higher Social Security and Medicare benefits, and a right for its government agencies and municipalities to file for bankruptcy. The latter is currently prohibited.[88] At approximately the same time as the referendum, Puerto Rico's legislators voted on a bill that allows the Governor to draft a state constitution and hold elections to choose senators and representatives to the federal Congress. Regardless of the outcome of the 2017 referendum and the bill, action by the United States Congress will be necessary to implement changes to the status of Puerto Rico under the Territorial Clause of the United States Constitution.[88] Online rise in reunification with Spain [edit] In recent years, primarily in online spaces, there has been a growth in support for reunification with Spain rather than statehood, in what is known as Hispanism.[89] See also [edit] Puerto Rico portal United States portal Caribbean portal Puerto Rico Democracy Act of 2007 Latin American and Caribbean Congress in Solidarity with Puerto Rico's Independence Latin America-United States relations Fuerzas Armadas de Liberación Nacional (Puerto Rico) Puerto Rico (proposed state) Proposed political status for Puerto Rico Sovereigntism (Puerto Rico) Special Committee on Decolonization United Nations list of non-self-governing territories Falange Boricua Movimento Nacional Sindicalista de Puerto Rico References [edit] Further reading [edit] Historia del Movimiento Pro Independencia--antecesor historico del MINH. Wilma E. Reverón Collazo. Introducción a la historia del MPI en el 160 Aniversario del Natalicio de Eugenio María de Hostos. Capaprieto /Movimiento Independentista Nacional Hostosiano - Mayagüez. Mayagüez, Puerto Rico. 11 January 1999. Retrieved 4 Juna 2011. Go, J. (2000). "Chains of Empire, Projects of State: Political Education and U.S. Colonial Rule in Puerto Rico and the Philippines." Comparative Studies in Society and History, 42(2), 333-362. Mireya Navarro (November 28, 2003). "New Light on Old F.B.I. Fight; Decades of Surveillance of Puerto Rican Groups". The New York Times.