Applied drawing

by Brown, Harold Haven, 1869-1932

 

Published 1916

Topics Drawing, Decoration and ornament

Applied Arts Museum, Tashkent, Uzbekistan 16 Aug 2024

Applied some new eyelashes to Serenity, my Minifee Miyu :) Very happy with her full eyelashes :) Not so happy with her eyes though. I may change them back to original Mako eyes I have for her. :)

Applied Dynamic Systems Inc. Model IP2K-D202-V \'Scooter\' pictured in Hangar 4 (sizing box) with an armored 7P fig

 

Inspired by this little fellow from ˢᵒˡᵒ.

 

It looked to be roughly in scale and I had a good idea for how to mod the legs to make them more poseable. Unfortunately, I wasn\'t quite able to reverse engineer the hip joints, so the back-end/under-carriage are a little over-built.

 

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Built for Mobile Frame Zero - a tabletop wargame.

Mobile Frame Hangar (MFZ Community Forums).

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At Cape Canaveral Air Force Station's Space Launch Complex 37, the United Launch Alliance Delta IV Heavy rocket with NASA's Parker Solar Probe, lifts off at 3:31 a.m. EDT on Sunday, Aug. 12, 2018. The spacecraft was built by Applied Physics Laboratory of Johns Hopkins University in Laurel, Maryland. The mission will perform the closest-ever observations of a star when it travels through the Sun's atmosphere, called the corona. The probe will rely on measurements and imaging to revolutionize our understanding of the corona and the Sun-Earth connection. Photo credit: NASA/Tony Gray and Tim Powers

NASA image use policy.

 

Applied partial white balancing.

 

NASA/JPL-Caltech/MSSS/Kevin M. Gill

Applied a light HDR to this evening fog shot which brings the fog out a little better than the original I feel.

Part of a wall hanging in the gallery of the Vienna Kunstgewerbeschule (School of Applied Arts) at the St. Louis World Fair 1904.

Execution: Kunstgewerbeschule. Wool, metal threads, weave made of interlacing (laces), stitch satin Wolle, Metallfäden, Flechterei aus Webbändchen

 

Part of: Vienna: Secession, Fin de sieclé, Jugendstil, Art nouveau, Art deco - Wien um 1900

 

DMC-G2 - P1540421

5.2.2013

#green #grün #maigrün #red #rot #lieblingsfarbe #tapisserie #tapestry #weber #teppich #teppichweber #weben #weave #carpet

(further information you can see by clicking on the link at the end of page, even in English!)

History of the applied

From the Imperial School of Applied Arts to present "Applied"

In the center of Vienna, in the capital of the Hapsburg Dynasty, was founded in 1867 the forerunner of today's University of Applied Arts, the Imperial School of Applied Arts. It was (today's MAK) affiliated to the Austrian Museum of Art and Industry (today's MAK), the first Museum of Decorative Arts on the European continent. This was in 1863 brought into being based on the model of the South Kensington Museum in London, today's Victoria & Albert Museum and should serve as role models collection for artists, industrialists and the public. The early industrialized England was then playing a pioneer role in the promotion of a reformed arts and crafts, to counteract the decline in the "machine age". Within the meaning of historicism one should, in Vienna, too, being enabled to study the great styles of the past on applied arts objects in the museum and art school, a training and education center for designers and craftsmen. The Vienna School of Applied Arts was to train artists and teachers alike to serve the requirements of the "art industry".

Heinrich von Ferstel, who had already built the museum, was commissioned to design a separate building for the school. 1877 could the until today used main building of the University in a prominent position at the Vienna Ringstraße officially being opened. Students (female ones, if somebody was to ask!) were admitted in contrast to the Academy of Fine Arts from the beginning on. As one of the numerous graduates of that era only Gustav Klimt here should be mentioned.

With the artistic development toward nature observation and toward free design also at the School of Arts and Crafts in the late 19th Century set in a detachment from work according to historical styles. Felician of Myrbach, a member of the newly founded Vienna artists' association Secession, was in 1899 appointed director of the school, which was dissolved out the following year from the administration of the museum. In Myrbachs term fall numerous reforms and callings making of the School of Art one of the cradles of the Austrian Art Nouveau and founding its reputation as the spirit of modernism committed institution. Otto Wagner had as a board member of the school major influence on whose reform implementations. The former faculty reads like a Who's Who of today's much acclaimed "Vienna around 1900" with names like Kolo Moser, Josef Hoffmann, Alfred Roller - in 1909 beginning his formative directorate time - and students such as Oskar Kokoschka.

The end of the monarchy also meant the end of the "kk" Arts and Crafts School, although the long time director Roller (until 1934) ensured the continuity of the high standards of artistic quality. An educational reform program Franz Cizek in his widely acclaimed youth art classes put into practise. From Cizeks' course for Ornamental morphology emerged the Viennese Kinetism, only recently (again) finding its international art-historical recognition, and where for the first time artists (female ones) - as Erika Giovanna Klien - were dominant. Architects such as Josef Frank, Oskar Strnad and Oswald Haerdtl continued the great tradition of the Viennese art space and transformed it. Margarete Schütte-Lihotzky, a graduate of the School of Applied Arts, became the inventor of the first produced in large series, so-called "Frankfurt Kitchen (Frankfurter Küche)" which had a lasting effect in social housing.

(The Frankfurt kitchen was a milestone in domestic architecture, considered the forerunner of modern fitted kitchens, for it realised for the first time a kitchen built after a unified concept, designed to enable efficient work and to be built at low cost. It was designed in 1926 by Austrian architect Margarete Schütte-Lihotzky for architect Ernst May's social housing project New Frankfurt in Frankfurt, Germany.[1] Some 10,000 units were built in the late 1920s in Frankfurt. - Wikipedia)

In the era of National Socialism, the Vienna School of Applied Arts was the "Reich Chamber of Fine Arts" subordinated, many teachers and students excluded from the school, threatened and persecuted, the teaching brought into line. In particular, the graphics class under their manager Paul Kirnig supplied visualized propaganda for the objectives of the "Third Reich" contributing to the elevation of the School of Applied Arts to "Empire Academy of Applied Arts in Vienna (Reichshochschule für Angewandte Kunst)".

After 1945, the now "College of Applied Arts" under the directorate of Maximilian Fellerer had a difficult start. Its orientation on the model of an art academy was also reflected in the name "Academy of Applied Arts"(1948-1971, then again "University"). The extension of the curriculum, increasing student numbers and a large annex after plans of Karl Schwanzer on the side of Vienna channel (moved into in 1965 ) are signs of expansion in the era of economic boom.

In 1980s and 1990s, the Applied developed under the long management of rector Oswald Oberhuber and Rudolf Burger, who headed the university from 1995 to 1999, to a progress-oriented institution. Into this period of time fall appointments of professors who briefly gave impetus or had long-lasting effects for generations of students. Among the teachers in the fields of architecture, design, visual art and theory of these decades are included personalities such as Friedrich Achleitner, Christian Ludwig Attersee, Carl Auböck, Wander Bertoni, Joseph Beuys (as visiting lecturer), Rudolf Burger, Jean-Charles de Castelbajac, Tino Erben, Adolf Frohner, Peter Gorsen, Hans Hollein, Wilhelm Holzbauer, Alfred Hrdlicka , Wolfgang Hutter, Karl Lagerfeld, Maria Lassnig, Bernhard Leitner, Walter Luerzer, Axel Manthey, Paolo Piva, Wolf Prix, Christian Reder, Jil Sander, Sigbert Schenk, Kurt Schwarz, Johannes Spalt, Mario Terzic, Peter Weibel, Manfred Wagner - just to name a few.

Since 2000, Gerald Bast heads as rector the University of Applied Arts Vienna, after the year before new legislation had made the Austrian Art colleges to universities. His ambitious program for a both growing arts university in content as well as in student numbers in the age of globalization and complex political and economic upheavals, among other things is reflected in the establishment of new degree programs and the appointment of many new lecturer".

Patrick Werkner

www.dieangewandte.at/jart/prj3/angewandte/main.jart?rel=d...

Mohandas Karamchand Gandhi 2 October 1869 – 30 January 1948) was an Indian lawyer, anti-colonial nationalist and political ethicist who employed nonviolent resistance to lead the successful campaign for India's independence from British rule. He inspired movements for civil rights and freedom across the world. The honorific Mahātmā (from Sanskrit 'great-souled, venerable'), first applied to him in South Africa in 1914, is now used throughout the world.

 

Born and raised in a Hindu family in coastal Gujarat, Gandhi trained in the law at the Inner Temple in London, and was called to the bar in June 1891, at the age of 22. After two uncertain years in India, where he was unable to start a successful law practice, he moved to South Africa in 1893 to represent an Indian merchant in a lawsuit. He went on to live in South Africa for 21 years. There, Gandhi raised a family and first employed nonviolent resistance in a campaign for civil rights. In 1915, aged 45, he returned to India and soon set about organising peasants, farmers, and urban labourers to protest against discrimination and excessive land-tax.

 

Assuming leadership of the Indian National Congress in 1921, Gandhi led nationwide campaigns for easing poverty, expanding women's rights, building religious and ethnic amity, ending untouchability, and, above all, achieving swaraj or self-rule. Gandhi adopted the short dhoti woven with hand-spun yarn as a mark of identification with India's rural poor. He began to live in a self-sufficient residential community, to eat simple food, and undertake long fasts as a means of both introspection and political protest. Bringing anti-colonial nationalism to the common Indians, Gandhi led them in challenging the British-imposed salt tax with the 400 km (250 mi) Dandi Salt March in 1930 and in calling for the British to quit India in 1942. He was imprisoned many times and for many years in both South Africa and India.

 

Gandhi's vision of an independent India based on religious pluralism was challenged in the early 1940s by a Muslim nationalism which demanded a separate homeland for Muslims within British India. In August 1947, Britain granted independence, but the British Indian Empire was partitioned into two dominions, a Hindu-majority India and a Muslim-majority Pakistan. As many displaced Hindus, Muslims, and Sikhs made their way to their new lands, religious violence broke out, especially in the Punjab and Bengal. Abstaining from the official celebration of independence, Gandhi visited the affected areas, attempting to alleviate distress. In the months following, he undertook several hunger strikes to stop the religious violence. The last of these was begun in Delhi on 12 January 1948, when he was 78. The belief that Gandhi had been too resolute in his defense of both Pakistan and Indian Muslims spread among some Hindus in India. Among these was Nathuram Godse, a militant Hindu nationalist from Pune, western India, who assassinated Gandhi by firing three bullets into his chest at an interfaith prayer meeting in Delhi on 30 January 1948.

 

Gandhi's birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and worldwide as the International Day of Nonviolence. Gandhi is considered to be the Father of the Nation in post-colonial India. During India's nationalist movement and in several decades immediately after, he was also commonly called Bapu (Gujarati endearment for "father", roughly "papa", "daddy"[

 

Gandhi's father, Karamchand Uttamchand Gandhi (1822–1885), served as the dewan (chief minister) of Porbandar state. His family originated from the then village of Kutiana in what was then Junagadh State. Although he only had been a clerk in the state administration and had an elementary education, Karamchand proved a capable chief minister.

 

During his tenure, Karamchand married four times. His first two wives died young, after each had given birth to a daughter, and his third marriage was childless. In 1857, he sought his third wife's permission to remarry; that year, he married Putlibai (1844–1891), who also came from Junagadh, and was from a Pranami Vaishnava family. Karamchand and Putlibai had four children: a son, Laxmidas (c. 1860–1914); a daughter, Raliatbehn (1862–1960); a second son, Karsandas (c. 1866–1913). and a third son, Mohandas Karamchand Gandhi who was born on 2 October 1869 in Porbandar (also known as Sudamapuri), a coastal town on the Kathiawar Peninsula and then part of the small princely state of Porbandar in the Kathiawar Agency of the British Raj.

 

In 1874, Gandhi's father Karamchand left Porbandar for the smaller state of Rajkot, where he became a counsellor to its ruler, the Thakur Sahib; though Rajkot was a less prestigious state than Porbandar, the British regional political agency was located there, which gave the state's diwan a measure of security. In 1876, Karamchand became diwan of Rajkot and was succeeded as diwan of Porbandar by his brother Tulsidas. His family then rejoined him in Rajkot.

 

As a child, Gandhi was described by his sister Raliat as "restless as mercury, either playing or roaming about. One of his favourite pastimes was twisting dogs' ears." The Indian classics, especially the stories of Shravana and king Harishchandra, had a great impact on Gandhi in his childhood. In his autobiography, he states that they left an indelible impression on his mind. He writes: "It haunted me and I must have acted Harishchandra to myself times without number." Gandhi's early self-identification with truth and love as supreme values is traceable to these epic characters.

 

The family's religious background was eclectic. Mohandas was born into a Gujarati Hindu Modh Bania family. Gandhi's father Karamchand was Hindu and his mother Putlibai was from a Pranami Vaishnava Hindu family. Gandhi's father was of Modh Baniya caste in the varna of Vaishya. His mother came from the medieval Krishna bhakti-based Pranami tradition, whose religious texts include the Bhagavad Gita, the Bhagavata Purana, and a collection of 14 texts with teachings that the tradition believes to include the essence of the Vedas, the Quran and the Bible. Gandhi was deeply influenced by his mother, an extremely pious lady who "would not think of taking her meals without her daily prayers... she would take the hardest vows and keep them without flinching. To keep two or three consecutive fasts was nothing to her."

  

Gandhi (right) with his eldest brother Laxmidas in 1886

At age 9, Gandhi entered the local school in Rajkot, near his home. There, he studied the rudiments of arithmetic, history, the Gujarati language and geography. At the age of 11, he joined the High School in Rajkot, Alfred High School. He was an average student, won some prizes, but was a shy and tongue tied student, with no interest in games; his only companions were books and school lessons.

 

In May 1883, the 13-year-old Mohandas was married to 14-year-old Kasturbai Gokuldas Kapadia (her first name was usually shortened to "Kasturba", and affectionately to "Ba") in an arranged marriage, according to the custom of the region at that time. In the process, he lost a year at school but was later allowed to make up by accelerating his studies. His wedding was a joint event, where his brother and cousin were also married. Recalling the day of their marriage, he once said, "As we didn't know much about marriage, for us it meant only wearing new clothes, eating sweets and playing with relatives." As was the prevailing tradition, the adolescent bride was to spend much time at her parents' house, and away from her husband.

 

Writing many years later, Mohandas described with regret the lustful feelings he felt for his young bride: "even at school I used to think of her, and the thought of nightfall and our subsequent meeting was ever haunting me." He later recalled feeling jealous and possessive of her, such as when she would visit a temple with her girlfriends, and being sexually lustful in his feelings for her.

 

In late 1885, Gandhi's father Karamchand died. Gandhi, then 16 years old, and his wife of age 17 had their first baby, who survived only a few days. The two deaths anguished Gandhi. The Gandhi couple had four more children, all sons: Harilal, born in 1888; Manilal, born in 1892; Ramdas, born in 1897; and Devdas, born in 1900.

 

In November 1887, the 18-year-old Gandhi graduated from high school in Ahmedabad. In January 1888, he enrolled at Samaldas College in Bhavnagar State, then the sole degree-granting institution of higher education in the region. However, he dropped out, and returned to his family in Porbandar.

 

Gandhi had dropped out of the cheapest college he could afford in Bombay. Mavji Dave Joshiji, a Brahmin priest and family friend, advised Gandhi and his family that he should consider law studies in London. In July 1888, his wife Kasturba gave birth to their first surviving son, Harilal. His mother was not comfortable about Gandhi leaving his wife and family, and going so far from home. Gandhi's uncle Tulsidas also tried to dissuade his nephew. Gandhi wanted to go. To persuade his wife and mother, Gandhi made a vow in front of his mother that he would abstain from meat, alcohol and women. Gandhi's brother Laxmidas, who was already a lawyer, cheered Gandhi's London studies plan and offered to support him. Putlibai gave Gandhi her permission and blessing.

 

On 10 August 1888, Gandhi, aged 18, left Porbandar for Mumbai, then known as Bombay. Upon arrival, he stayed with the local Modh Bania community whose elders warned him that England would tempt him to compromise his religion, and eat and drink in Western ways. Despite Gandhi informing them of his promise to his mother and her blessings, he was excommunicated from his caste. Gandhi ignored this, and on 4 September, he sailed from Bombay to London, with his brother seeing him off. Gandhi attended University College, London, where he took classes in English literature with Henry Morley in 1888–1889.

 

He also enrolled at the Inns of Court School of Law in Inner Temple with the intention of becoming a barrister.[38] His childhood shyness and self-withdrawal had continued through his teens. He retained these traits when he arrived in London, but joined a public speaking practice group and overcame his shyness sufficiently to practise law.

 

He demonstrated a keen interest in the welfare of London's impoverished dockland communities. In 1889, a bitter trade dispute broke out in London, with dockers striking for better pay and conditions, and seamen, shipbuilders, factory girls and other joining the strike in solidarity. The strikers were successful, in part due to the mediation of Cardinal Manning, leading Gandhi and an Indian friend to make a point of visiting the cardinal and thanking him for his work.

 

Gandhi's time in London was influenced by the vow he had made to his mother. He tried to adopt "English" customs, including taking dancing lessons. However, he did not appreciate the bland vegetarian food offered by his landlady and was frequently hungry until he found one of London's few vegetarian restaurants. Influenced by Henry Salt's writing, he joined the London Vegetarian Society, and was elected to its executive committee under the aegis of its president and benefactor Arnold Hills. An achievement while on the committee was the establishment of a Bayswater chapter. Some of the vegetarians he met were members of the Theosophical Society, which had been founded in 1875 to further universal brotherhood, and which was devoted to the study of Buddhist and Hindu literature. They encouraged Gandhi to join them in reading the Bhagavad Gita both in translation as well as in the original.

 

Gandhi had a friendly and productive relationship with Hills, but the two men took a different view on the continued LVS membership of fellow committee member Thomas Allinson. Their disagreement is the first known example of Gandhi challenging authority, despite his shyness and temperamental disinclination towards confrontation.

 

Allinson had been promoting newly available birth control methods, but Hills disapproved of these, believing they undermined public morality. He believed vegetarianism to be a moral movement and that Allinson should therefore no longer remain a member of the LVS. Gandhi shared Hills' views on the dangers of birth control, but defended Allinson's right to differ. It would have been hard for Gandhi to challenge Hills; Hills was 12 years his senior and unlike Gandhi, highly eloquent. He bankrolled the LVS and was a captain of industry with his Thames Ironworks company employing more than 6,000 people in the East End of London. He was also a highly accomplished sportsman who later founded the football club West Ham United. In his 1927 An Autobiography, Vol. I, Gandhi wrote:

 

The question deeply interested me...I had a high regard for Mr. Hills and his generosity. But I thought it was quite improper to exclude a man from a vegetarian society simply because he refused to regard puritan morals as one of the objects of the society

 

A motion to remove Allinson was raised, and was debated and voted on by the committee. Gandhi's shyness was an obstacle to his defence of Allinson at the committee meeting. He wrote his views down on paper but shyness prevented him from reading out his arguments, so Hills, the President, asked another committee member to read them out for him. Although some other members of the committee agreed with Gandhi, the vote was lost and Allinson excluded. There were no hard feelings, with Hills proposing the toast at the LVS farewell dinner in honour of Gandhi's return to India.

 

Gandhi, at age 22, was called to the bar in June 1891 and then left London for India, where he learned that his mother had died while he was in London and that his family had kept the news from him. His attempts at establishing a law practice in Bombay failed because he was psychologically unable to cross-examine witnesses. He returned to Rajkot to make a modest living drafting petitions for litigants, but he was forced to stop when he ran afoul of British officer Sam Sunny.

 

In 1893, a Muslim merchant in Kathiawar named Dada Abdullah contacted Gandhi. Abdullah owned a large successful shipping business in South Africa. His distant cousin in Johannesburg needed a lawyer, and they preferred someone with Kathiawari heritage. Gandhi inquired about his pay for the work. They offered a total salary of £105 (~$4,143.31 2023 money) plus travel expenses. He accepted it, knowing that it would be at least a one-year commitment in the Colony of Natal, South Africa, also a part of the British Empire.

 

In April 1893, Gandhi, aged 23, set sail for South Africa to be the lawyer for Abdullah's cousin. He spent 21 years in South Africa, where he developed his political views, ethics and politics.

 

Immediately upon arriving in South Africa, Gandhi faced discrimination because of his skin colour and heritage. He was not allowed to sit with European passengers in the stagecoach and told to sit on the floor near the driver, then beaten when he refused; elsewhere he was kicked into a gutter for daring to walk near a house, in another instance thrown off a train at Pietermaritzburg after refusing to leave the first-class. He sat in the train station, shivering all night and pondering if he should return to India or protest for his rights. He chose to protest and was allowed to board the train the next day. In another incident, the magistrate of a Durban court ordered Gandhi to remove his turban, which he refused to do. Indians were not allowed to walk on public footpaths in South Africa. Gandhi was kicked by a police officer out of the footpath onto the street without warning.

 

When Gandhi arrived in South Africa, according to Herman, he thought of himself as "a Briton first, and an Indian second". However, the prejudice against him and his fellow Indians from British people that Gandhi experienced and observed deeply bothered him. He found it humiliating, struggling to understand how some people can feel honour or superiority or pleasure in such inhumane practices. Gandhi began to question his people's standing in the British Empire.

 

The Abdullah case that had brought him to South Africa concluded in May 1894, and the Indian community organised a farewell party for Gandhi as he prepared to return to India. However, a new Natal government discriminatory proposal led to Gandhi extending his original period of stay in South Africa. He planned to assist Indians in opposing a bill to deny them the right to vote, a right then proposed to be an exclusive European right. He asked Joseph Chamberlain, the British Colonial Secretary, to reconsider his position on this bill. Though unable to halt the bill's passage, his campaign was successful in drawing attention to the grievances of Indians in South Africa. He helped found the Natal Indian Congress in 1894, and through this organisation, he moulded the Indian community of South Africa into a unified political force. In January 1897, when Gandhi landed in Durban, a mob of white settlers attacked him and he escaped only through the efforts of the wife of the police superintendent. However, he refused to press charges against any member of the mob.

 

During the Boer War, Gandhi volunteered in 1900 to form a group of stretcher-bearers as the Natal Indian Ambulance Corps. According to Arthur Herman, Gandhi wanted to disprove the British colonial stereotype that Hindus were not fit for "manly" activities involving danger and exertion, unlike the Muslim "martial races". Gandhi raised eleven hundred Indian volunteers, to support British combat troops against the Boers. They were trained and medically certified to serve on the front lines. They were auxiliaries at the Battle of Colenso to a White volunteer ambulance corps. At the battle of Spion Kop Gandhi and his bearers moved to the front line and had to carry wounded soldiers for miles to a field hospital because the terrain was too rough for the ambulances. Gandhi and thirty-seven other Indians received the Queen's South Africa Medal.

 

In 1906, the Transvaal government promulgated a new Act compelling registration of the colony's Indian and Chinese populations. At a mass protest meeting held in Johannesburg on 11 September that year, Gandhi adopted his still evolving methodology of Satyagraha (devotion to the truth), or nonviolent protest, for the first time. According to Anthony Parel, Gandhi was also influenced by the Tamil moral text Tirukkuṛaḷ after Leo Tolstoy mentioned it in their correspondence that began with "A Letter to a Hindu". Gandhi urged Indians to defy the new law and to suffer the punishments for doing so. Gandhi's ideas of protests, persuasion skills and public relations had emerged. He took these back to India in 1915.

 

Gandhi focused his attention on Indians and Africans while he was in South Africa. He initially was not interested in politics. This changed, however, after he was discriminated against and bullied, such as by being thrown out of a train coach because of his skin colour by a white train official. After several such incidents with Whites in South Africa, Gandhi's thinking and focus changed, and he felt he must resist this and fight for rights. He entered politics by forming the Natal Indian Congress. According to Ashwin Desai and Goolam Vahed, Gandhi's views on racism are contentious in some cases, but that changed afterward.[further explanation needed] Gandhi suffered persecution from the beginning in South Africa. Like with other coloured people, white officials denied him his rights, and the press and those in the streets bullied and called him a "parasite", "semi-barbarous", "canker", "squalid coolie", "yellow man", and other epithets. People would spit on him as an expression of racial hate.

 

While in South Africa, Gandhi focused on the racial persecution of Indians before he started to focus on racism against Africans. In some cases, state Desai and Vahed, his behaviour was one of being a willing part of racial stereotyping and African exploitation. During a speech in September 1896, Gandhi complained that the whites in the British colony of South Africa were "degrading the Indian to the level of a raw Kaffir". Scholars cite it as an example of evidence that Gandhi at that time thought of Indians and black South Africans differently. As another example given by Herman, Gandhi, at the age of 24, prepared a legal brief for the Natal Assembly in 1895, seeking voting rights for Indians. Gandhi cited race history and European Orientalists' opinions that "Anglo-Saxons and Indians are sprung from the same Aryan stock or rather the Indo-European peoples", and argued that Indians should not be grouped with the Africans.

 

Years later, Gandhi and his colleagues served and helped Africans as nurses and by opposing racism. The Nobel Peace Prize winner Nelson Mandela is among admirers of Gandhi's efforts to fight against racism in Africa. The general image of Gandhi, state Desai and Vahed, has been reinvented since his assassination as though he was always a saint, when in reality his life was more complex, contained inconvenient truths, and was one that changed over time.[68] Scholars have also pointed the evidence to a rich history of co-operation and efforts by Gandhi and Indian people with nonwhite South Africans against persecution of Africans and the Apartheid.

 

In 1906, when the Bambatha Rebellion broke out in the colony of Natal, the then 36-year-old Gandhi, despite sympathising with the Zulu rebels, encouraged Indian South Africans to form a volunteer stretcher-bearer unit. Writing in the Indian Opinion, Gandhi argued that military service would be beneficial to the Indian community and claimed it would give them "health and happiness". Gandhi eventually led a volunteer mixed unit of Indian and African stretcher-bearers to treat wounded combatants during the suppression of the rebellion.

 

The medical unit commanded by Gandhi operated for less than two months before being disbanded.[72] After the suppression of the rebellion, the colonial establishment showed no interest in extending to the Indian community the civil rights granted to white South Africans. This led Gandhi to becoming disillusioned with the Empire and aroused a spiritual awakening with him; historian Arthur L. Herman wrote that his African experience was a part of his great disillusionment with the West, transforming him into an "uncompromising non-cooperator".

 

By 1910, Gandhi's newspaper, Indian Opinion, was covering reports on discrimination against Africans by the colonial regime. Gandhi remarked that the Africans are "alone are the original inhabitants of the land. … The whites, on the other hand, have occupied the land forcibly and appropriated it to themselves."

 

In 1910, Gandhi established, with the help of his friend Hermann Kallenbach, an idealistic community they named Tolstoy Farm near Johannesburg. There he nurtured his policy of peaceful resistance.

 

In the years after black South Africans gained the right to vote in South Africa (1994), Gandhi was proclaimed a national hero with numerous monuments.

 

At the request of Gopal Krishna Gokhale, conveyed to him by C. F. Andrews, Gandhi returned to India in 1915. He brought an international reputation as a leading Indian nationalist, theorist and community organiser.

 

Gandhi joined the Indian National Congress and was introduced to Indian issues, politics and the Indian people primarily by Gokhale. Gokhale was a key leader of the Congress Party best known for his restraint and moderation, and his insistence on working inside the system. Gandhi took Gokhale's liberal approach based on British Whiggish traditions and transformed it to make it look Indian.

 

Gandhi took leadership of the Congress in 1920 and began escalating demands until on 26 January 1930 the Indian National Congress declared the independence of India. The British did not recognise the declaration but negotiations ensued, with the Congress taking a role in provincial government in the late 1930s. Gandhi and the Congress withdrew their support of the Raj when the Viceroy declared war on Germany in September 1939 without consultation. Tensions escalated until Gandhi demanded immediate independence in 1942 and the British responded by imprisoning him and tens of thousands of Congress leaders. Meanwhile, the Muslim League did co-operate with Britain and moved, against Gandhi's strong opposition, to demands for a totally separate Muslim state of Pakistan. In August 1947 the British partitioned the land with India and Pakistan each achieving independence on terms that Gandhi disapproved.

 

In April 1918, during the latter part of World War I, the Viceroy invited Gandhi to a War Conference in Delhi. Gandhi agreed to actively recruit Indians for the war effort. In contrast to the Zulu War of 1906 and the outbreak of World War I in 1914, when he recruited volunteers for the Ambulance Corps, this time Gandhi attempted to recruit combatants. In a June 1918 leaflet entitled "Appeal for Enlistment", Gandhi wrote "To bring about such a state of things we should have the ability to defend ourselves, that is, the ability to bear arms and to use them... If we want to learn the use of arms with the greatest possible despatch, it is our duty to enlist ourselves in the army." He did, however, stipulate in a letter to the Viceroy's private secretary that he "personally will not kill or injure anybody, friend or foe."

 

Gandhi's war recruitment campaign brought into question his consistency on nonviolence. Gandhi's private secretary noted that "The question of the consistency between his creed of 'Ahimsa' (nonviolence) and his recruiting campaign was raised not only then but has been discussed ever since."

 

In July 1918, Gandhi admitted that he couldn't persuade even one individual to enlist for the world war. "So far I have not a single recruit to my credit apart," Gandhi wrote. He added: "They object because they fear to die."

 

Gandhi's first major achievement came in 1917 with the Champaran agitation in Bihar. The Champaran agitation pitted the local peasantry against largely Anglo-Indian plantation owners who were backed by the local administration. The peasants were forced to grow indigo (Indigofera sp.), a cash crop for Indigo dye whose demand had been declining over two decades, and were forced to sell their crops to the planters at a fixed price. Unhappy with this, the peasantry appealed to Gandhi at his ashram in Ahmedabad. Pursuing a strategy of nonviolent protest, Gandhi took the administration by surprise and won concessions from the authorities.

 

In 1918, Kheda was hit by floods and famine and the peasantry was demanding relief from taxes. Gandhi moved his headquarters to Nadiad, organising scores of supporters and fresh volunteers from the region, the most notable being Vallabhbhai Patel. Using non-co-operation as a technique, Gandhi initiated a signature campaign where peasants pledged non-payment of revenue even under the threat of confiscation of land. A social boycott of mamlatdars and talatdars (revenue officials within the district) accompanied the agitation. Gandhi worked hard to win public support for the agitation across the country. For five months, the administration refused, but by the end of May 1918, the Government gave way on important provisions and relaxed the conditions of payment of revenue tax until the famine ended. In Kheda, Vallabhbhai Patel represented the farmers in negotiations with the British, who suspended revenue collection and released all the prisoners.

 

In 1919, following World War I, Gandhi (aged 49) sought political co-operation from Muslims in his fight against British imperialism by supporting the Ottoman Empire that had been defeated in the World War. Before this initiative of Gandhi, communal disputes and religious riots between Hindus and Muslims were common in British India, such as the riots of 1917–18. Gandhi had already supported the British crown with resources and by recruiting Indian soldiers to fight the war in Europe on the British side. This effort of Gandhi was in part motivated by the British promise to reciprocate the help with swaraj (self-government) to Indians after the end of World War I. The British government had offered, instead of self-government, minor reforms instead, disappointing Gandhi. Gandhi announced his satyagraha (civil disobedience) intentions. The British colonial officials made their counter move by passing the Rowlatt Act, to block Gandhi's movement. The Act allowed the British government to treat civil disobedience participants as criminals and gave it the legal basis to arrest anyone for "preventive indefinite detention, incarceration without judicial review or any need for a trial".

 

Gandhi felt that Hindu-Muslim co-operation was necessary for political progress against the British. He leveraged the Khilafat movement, wherein Sunni Muslims in India, their leaders such as the sultans of princely states in India and Ali brothers championed the Turkish Caliph as a solidarity symbol of Sunni Islamic community (ummah). They saw the Caliph as their means to support Islam and the Islamic law after the defeat of Ottoman Empire in World War I. Gandhi's support to the Khilafat movement led to mixed results. It initially led to a strong Muslim support for Gandhi. However, the Hindu leaders including Rabindranath Tagore questioned Gandhi's leadership because they were largely against recognising or supporting the Sunni Islamic Caliph in Turkey.

 

The increasing Muslim support for Gandhi, after he championed the Caliph's cause, temporarily stopped the Hindu-Muslim communal violence. It offered evidence of inter-communal harmony in joint Rowlatt satyagraha demonstration rallies, raising Gandhi's stature as the political leader to the British. His support for the Khilafat movement also helped him sideline Muhammad Ali Jinnah, who had announced his opposition to the satyagraha non-co-operation movement approach of Gandhi. Jinnah began creating his independent support, and later went on to lead the demand for West and East Pakistan. Though they agreed in general terms on Indian independence, they disagreed on the means of achieving this. Jinnah was mainly interested in dealing with the British via constitutional negotiation, rather than attempting to agitate the masses.

 

In 1922 the Khilafat movement gradually collapsed following the end of the non-cooperation movement with the arrest of Gandhi. A number of Muslim leaders and delegates abandoned Gandhi and Congress. Hindu-Muslim communal conflicts reignited. Deadly religious riots re-appeared in numerous cities, with 91 in United Provinces of Agra and Oudh alone.

 

With his book Hind Swaraj (1909) Gandhi, aged 40, declared that British rule was established in India with the co-operation of Indians and had survived only because of this co-operation. If Indians refused to co-operate, British rule would collapse and swaraj (Indian independence) would come.

 

In February 1919, Gandhi cautioned the Viceroy of India with a cable communication that if the British were to pass the Rowlatt Act, he would appeal to Indians to start civil disobedience. The British government ignored him and passed the law, stating it would not yield to threats. The satyagraha civil disobedience followed, with people assembling to protest the Rowlatt Act. On 30 March 1919, British law officers opened fire on an assembly of unarmed people, peacefully gathered, participating in satyagraha in Delhi.

 

People rioted in retaliation. On 6 April 1919, a Hindu festival day, he asked a crowd to remember not to injure or kill British people, but to express their frustration with peace, to boycott British goods and burn any British clothing they owned. He emphasised the use of non-violence to the British and towards each other, even if the other side used violence. Communities across India announced plans to gather in greater numbers to protest. Government warned him to not enter Delhi. Gandhi defied the order. On 9 April, Gandhi was arrested.

 

On 13 April 1919, people including women with children gathered in an Amritsar park, and British Indian Army officer Reginald Dyer surrounded them and ordered troops under his command to fire on them. The resulting Jallianwala Bagh massacre (or Amritsar massacre) of hundreds of Sikh and Hindu civilians enraged the subcontinent, but was supported by some Britons and parts of the British media as a necessary response. Gandhi in Ahmedabad, on the day after the massacre in Amritsar, did not criticise the British and instead criticised his fellow countrymen for not exclusively using 'love' to deal with the 'hate' of the British government. Gandhi demanded that the Indian people stop all violence, stop all property destruction, and went on fast-to-death to pressure Indians to stop their rioting.

 

The massacre and Gandhi's non-violent response to it moved many, but also made some Sikhs and Hindus upset that Dyer was getting away with murder. Investigation committees were formed by the British, which Gandhi asked Indians to boycott.[109] The unfolding events, the massacre and the British response, led Gandhi to the belief that Indians will never get a fair equal treatment under British rulers, and he shifted his attention to swaraj and political independence for India. In 1921, Gandhi was the leader of the Indian National Congress. He reorganised the Congress. With Congress now behind him, and Muslim support triggered by his backing the Khilafat movement to restore the Caliph in Turkey, Gandhi had the political support and the attention of the British Raj.

 

Gandhi expanded his nonviolent non-co-operation platform to include the swadeshi policy – the boycott of foreign-made goods, especially British goods. Linked to this was his advocacy that khadi (homespun cloth) be worn by all Indians instead of British-made textiles. Gandhi exhorted Indian men and women, rich or poor, to spend time each day spinning khadi in support of the independence movement. In addition to boycotting British products, Gandhi urged the people to boycott British institutions and law courts, to resign from government employment, and to forsake British titles and honours. Gandhi thus began his journey aimed at crippling the British India government economically, politically and administratively.

 

The appeal of "Non-cooperation" grew, its social popularity drew participation from all strata of Indian society. Gandhi was arrested on 10 March 1922, tried for sedition, and sentenced to six years' imprisonment. He began his sentence on 18 March 1922. With Gandhi isolated in prison, the Indian National Congress split into two factions, one led by Chitta Ranjan Das and Motilal Nehru favouring party participation in the legislatures, and the other led by Chakravarti Rajagopalachari and Sardar Vallabhbhai Patel, opposing this move. Furthermore, co-operation among Hindus and Muslims ended as Khilafat movement collapsed with the rise of Atatürk in Turkey. Muslim leaders left the Congress and began forming Muslim organisations. The political base behind Gandhi had broken into factions. Gandhi was released in February 1924 for an appendicitis operation, having served only two years.

 

After his early release from prison for political crimes in 1924, over the second half of the 1920s Gandhi continued to pursue swaraj. He pushed through a resolution at the Calcutta Congress in December 1928 calling on the British government to grant India dominion status or face a new campaign of non-cooperation with complete independence for the country as its goal. After his support for World War I with Indian combat troops, and the failure of Khilafat movement in preserving the rule of Caliph in Turkey, followed by a collapse in Muslim support for his leadership, some such as Subhas Chandra Bose and Bhagat Singh questioned his values and non-violent approach. While many Hindu leaders championed a demand for immediate independence, Gandhi revised his own call to a one-year wait, instead of two.

 

The British did not respond favourably to Gandhi's proposal. British political leaders such as Lord Birkenhead and Winston Churchill announced opposition to "the appeasers of Gandhi" in their discussions with European diplomats who sympathised with Indian demands. On 31 December 1929, an Indian flag was unfurled in Lahore. Gandhi led Congress in a celebration on 26 January 1930 of India's Independence Day in Lahore. This day was commemorated by almost every other Indian organisation. Gandhi then launched a new Satyagraha against the British salt tax in March 1930. Gandhi sent an ultimatum in the form of a letter personally addressed to Lord Irwin, the viceroy of India, on 2 March. Gandhi condemned British rule in the letter, describing it as "a curse" that "has impoverished the dumb millions by a system of progressive exploitation and by a ruinously expensive military and civil administration...It has reduced us politically to serfdom." Gandhi also mentioned in the letter that the viceroy received a salary "over five thousand times India's average income." In the letter, Gandhi also stressed his continued adherence to non-violent forms of protest.

 

This was highlighted by the Salt March to Dandi from 12 March to 6 April, where, together with 78 volunteers, he marched 388 kilometres (241 mi) from Ahmedabad to Dandi, Gujarat to make salt himself, with the declared intention of breaking the salt laws. The march took 25 days to cover 240 miles with Gandhi speaking to often huge crowds along the way. Thousands of Indians joined him in Dandi. On 5 May he was interned under a regulation dating from 1827 in anticipation of a protest that he had planned. The protest at Dharasana salt works on 21 May went ahead without him see. A horrified American journalist, Webb Miller, described the British response thus:

 

In complete silence the Gandhi men drew up and halted a hundred yards from the stockade. A picked column advanced from the crowd, waded the ditches and approached the barbed wire stockade... at a word of command, scores of native policemen rushed upon the advancing marchers and rained blows on their heads with their steel-shot lathis [long bamboo sticks]. Not one of the marchers even raised an arm to fend off blows. They went down like ninepins. From where I stood I heard the sickening whack of the clubs on unprotected skulls... Those struck down fell sprawling, unconscious or writhing with fractured skulls or broken shoulders.

 

This went on for hours until some 300 or more protesters had been beaten, many seriously injured and two killed. At no time did they offer any resistance.

 

This campaign was one of his most successful at upsetting British hold on India; Britain responded by imprisoning over 60,000 people. Congress estimates, however, put the figure at 90,000. Among them was one of Gandhi's lieutenants, Jawaharlal Nehru.

 

According to Sarma, Gandhi recruited women to participate in the salt tax campaigns and the boycott of foreign products, which gave many women a new self-confidence and dignity in the mainstream of Indian public life. However, other scholars such as Marilyn French state that Gandhi barred women from joining his civil disobedience movement because he feared he would be accused of using women as a political shield. When women insisted on joining the movement and participating in public demonstrations, Gandhi asked the volunteers to get permissions of their guardians and only those women who can arrange child-care should join him. Regardless of Gandhi's apprehensions and views, Indian women joined the Salt March by the thousands to defy the British salt taxes and monopoly on salt mining. After Gandhi's arrest, the women marched and picketed shops on their own, accepting violence and verbal abuse from British authorities for the cause in the manner Gandhi inspired.

 

Indian Congress in the 1920s appealed to Andhra Pradesh peasants by creating Telugu language plays that combined Indian mythology and legends, linked them to Gandhi's ideas, and portrayed Gandhi as a messiah, a reincarnation of ancient and medieval Indian nationalist leaders and saints. The plays built support among peasants steeped in traditional Hindu culture, according to Murali, and this effort made Gandhi a folk hero in Telugu speaking villages, a sacred messiah-like figure.

 

According to Dennis Dalton, it was Gandhi's ideas that were responsible for his wide following. Gandhi criticised Western civilisation as one driven by "brute force and immorality", contrasting it with his categorisation of Indian civilisation as one driven by "soul force and morality". Gandhi captured the imagination of the people of his heritage with his ideas about winning "hate with love". These ideas are evidenced in his pamphlets from the 1890s, in South Africa, where too he was popular among the Indian indentured workers. After he returned to India, people flocked to him because he reflected their values.

 

Gandhi also campaigned hard going from one rural corner of the Indian subcontinent to another. He used terminology and phrases such as Rama-rajya from Ramayana, Prahlada as a paradigmatic icon, and such cultural symbols as another facet of swaraj and satyagraha. During his lifetime, these ideas sounded strange outside India, but they readily and deeply resonated with the culture and historic values of his people.

 

The government, represented by Lord Irwin, decided to negotiate with Gandhi. The Gandhi–Irwin Pact was signed in March 1931. The British Government agreed to free all political prisoners, in return for the suspension of the civil disobedience movement. According to the pact, Gandhi was invited to attend the Round Table Conference in London for discussions and as the sole representative of the Indian National Congress. The conference was a disappointment to Gandhi and the nationalists. Gandhi expected to discuss India's independence, while the British side focused on the Indian princes and Indian minorities rather than on a transfer of power. Lord Irwin's successor, Lord Willingdon, took a hard line against India as an independent nation, began a new campaign of controlling and subduing the nationalist movement. Gandhi was again arrested, and the government tried and failed to negate his influence by completely isolating him from his followers.

 

In Britain, Winston Churchill, a prominent Conservative politician who was then out of office but later became its prime minister, became a vigorous and articulate critic of Gandhi and opponent of his long-term plans. Churchill often ridiculed Gandhi, saying in a widely reported 1931 speech:

 

It is alarming and also nauseating to see Mr Gandhi, a seditious Middle Temple lawyer, now posing as a fakir of a type well known in the East, striding half-naked up the steps of the Vice-regal palace....to parley on equal terms with the representative of the King-Emperor.

 

Churchill's bitterness against Gandhi grew in the 1930s. He called Gandhi as the one who was "seditious in aim" whose evil genius and multiform menace was attacking the British empire. Churchill called him a dictator, a "Hindu Mussolini", fomenting a race war, trying to replace the Raj with Brahmin cronies, playing on the ignorance of Indian masses, all for selfish gain. Churchill attempted to isolate Gandhi, and his criticism of Gandhi was widely covered by European and American press. It gained Churchill sympathetic support, but it also increased support for Gandhi among Europeans. The developments heightened Churchill's anxiety that the "British themselves would give up out of pacifism and misplaced conscience".

 

During the discussions between Gandhi and the British government over 1931–32 at the Round Table Conferences, Gandhi, now aged about 62, sought constitutional reforms as a preparation to the end of colonial British rule, and begin the self-rule by Indians. The British side sought reforms that would keep the Indian subcontinent as a colony. The British negotiators proposed constitutional reforms on a British Dominion model that established separate electorates based on religious and social divisions. The British questioned the Congress party and Gandhi's authority to speak for all of India. They invited Indian religious leaders, such as Muslims and Sikhs, to press their demands along religious lines, as well as B. R. Ambedkar as the representative leader of the untouchables. Gandhi vehemently opposed a constitution that enshrined rights or representations based on communal divisions, because he feared that it would not bring people together but divide them, perpetuate their status, and divert the attention from India's struggle to end the colonial rule.

 

The Second Round Table conference was the only time he left India between 1914 and his death in 1948. He declined the government's offer of accommodation in an expensive West End hotel, preferring to stay in the East End, to live among working-class people, as he did in India. He based himself in a small cell-bedroom at Kingsley Hall for the three-month duration of his stay and was enthusiastically received by East Enders. During this time he renewed his links with the British vegetarian movement.

 

After Gandhi returned from the Second Round Table conference, he started a new satyagraha. He was arrested and imprisoned at the Yerwada Jail, Pune. While he was in prison, the British government enacted a new law that granted untouchables a separate electorate. It came to be known as the Communal Award. In protest, Gandhi started a fast-unto-death, while he was held in prison. The resulting public outcry forced the government, in consultations with Ambedkar, to replace the Communal Award with a compromise Poona Pact.

 

In 1934 Gandhi resigned from Congress party membership. He did not disagree with the party's position but felt that if he resigned, his popularity with Indians would cease to stifle the party's membership, which actually varied, including communists, socialists, trade unionists, students, religious conservatives, and those with pro-business convictions, and that these various voices would get a chance to make themselves heard. Gandhi also wanted to avoid being a target for Raj propaganda by leading a party that had temporarily accepted political accommodation with the Raj.

 

Gandhi returned to active politics again in 1936, with the Nehru presidency and the Lucknow session of the Congress. Although Gandhi wanted a total focus on the task of winning independence and not speculation about India's future, he did not restrain the Congress from adopting socialism as its goal. Gandhi had a clash with Subhas Chandra Bose, who had been elected president in 1938, and who had previously expressed a lack of faith in nonviolence as a means of protest. Despite Gandhi's opposition, Bose won a second term as Congress President, against Gandhi's nominee, Bhogaraju Pattabhi Sitaramayya. Gandhi declared that Sitaramayya's defeat was his defeat. Bose later left the Congress when the All-India leaders resigned en masse in protest of his abandonment of the principles introduced by Gandhi.

 

Gandhi opposed providing any help to the British war effort and he campaigned against any Indian participation in World War II. The British government responded with the arrests of Gandhi and many other Congress leaders and killed over 1,000 Indians who participated in this movement. A number of violent attacks were also carried out by the nationalists against the British government. While Gandhi's campaign did not enjoy the support of a number of Indian leaders, and over 2.5 million Indians volunteered and joined the British military to fight on various fronts of the Allied Forces, the movement played a role in weakening the control over the South Asian region by the British regime and it ultimately paved the way for Indian independence.

 

Gandhi's opposition to the Indian participation in World War II was motivated by his belief that India could not be party to a war ostensibly being fought for democratic freedom while that freedom was denied to India itself. He also condemned Nazism and Fascism, a view which won endorsement of other Indian leaders. As the war progressed, Gandhi intensified his demand for independence, calling for the British to Quit India in a 1942 speech in Mumbai. This was Gandhi's and the Congress Party's most definitive revolt aimed at securing the British exit from India. The British government responded quickly to the Quit India speech, and within hours after Gandhi's speech arrested Gandhi and all the members of the Congress Working Committee. His countrymen retaliated the arrests by damaging or burning down hundreds of government owned railway stations, police stations, and cutting down telegraph wires.

 

In 1942, Gandhi now nearing age 73, urged his people to completely stop co-operating with the imperial government. In this effort, he urged that they neither kill nor injure British people, but be willing to suffer and die if violence is initiated by the British officials. He clarified that the movement would not be stopped because of any individual acts of violence, saying that the "ordered anarchy" of "the present system of administration" was "worse than real anarchy." He urged Indians to karo ya maro ("do or die") in the cause of their rights and freedoms.

 

Gandhi's arrest lasted two years, as he was held in the Aga Khan Palace in Pune. During this period, his long time secretary Mahadev Desai died of a heart attack, his wife Kasturba died after 18 months' imprisonment on 22 February 1944; and Gandhi suffered a severe malaria attack. While in jail, he agreed to an interview with Stuart Gelder, a British journalist. Gelder then composed and released an interview summary, cabled it to the mainstream press, that announced sudden concessions Gandhi was willing to make, comments that shocked his countrymen, the Congress workers and even Gandhi. The latter two claimed that it distorted what Gandhi actually said on a range of topics and falsely repudiated the Quit India movement.

 

Gandhi was released before the end of the war on 6 May 1944 because of his failing health and necessary surgery; the Raj did not want him to die in prison and enrage the nation. He came out of detention to an altered political scene – the Muslim League for example, which a few years earlier had appeared marginal, "now occupied the centre of the political stage" and the topic of Jinnah's campaign for Pakistan was a major talking point. Gandhi and Jinnah had extensive correspondence and the two men met several times over a period of two weeks in September 1944 at Jinnah's house in Bombay, where Gandhi insisted on a united religiously plural and independent India which included Muslims and non-Muslims of the Indian subcontinent coexisting. Jinnah rejected this proposal and insisted instead for partitioning the subcontinent on religious lines to create a separate Muslim homeland (later Pakistan).These discussions continued through 1947.

 

While the leaders of Congress languished in jail, the other parties supported the war and gained organisational strength. Underground publications flailed at the ruthless suppression of Congress, but it had little control over events. At the end of the war, the British gave clear indications that power would be transferred to Indian hands. At this point Gandhi called off the struggle, and around 100,000 political prisoners were released, including the Congress's leadership.

 

Gandhi opposed the partition of the Indian subcontinent along religious lines. The Indian National Congress and Gandhi called for the British to Quit India. However, the All-India Muslim League demanded "Divide and Quit India". Gandhi suggested an agreement which required the Congress and the Muslim League to co-operate and attain independence under a provisional government, thereafter, the question of partition could be resolved by a plebiscite in the districts with a Muslim majority.

 

Jinnah rejected Gandhi's proposal and called for Direct Action Day, on 16 August 1946, to press Muslims to publicly gather in cities and support his proposal for the partition of the Indian subcontinent into a Muslim state and non-Muslim state. Huseyn Shaheed Suhrawardy, the Muslim League Chief Minister of Bengal – now Bangladesh and West Bengal, gave Calcutta's police special holiday to celebrate the Direct Action Day. The Direct Action Day triggered a mass murder of Calcutta Hindus and the torching of their property, and holidaying police were missing to contain or stop the conflict. The British government did not order its army to move in to contain the violence. The violence on Direct Action Day led to retaliatory violence against Muslims across India. Thousands of Hindus and Muslims were murdered, and tens of thousands were injured in the cycle of violence in the days that followed. Gandhi visited the most riot-prone areas to appeal a stop to the massacres.

 

Archibald Wavell, the Viceroy and Governor-General of British India for three years through February 1947, had worked with Gandhi and Jinnah to find a common ground, before and after accepting Indian independence in principle. Wavell condemned Gandhi's character and motives as well as his ideas. Wavell accused Gandhi of harbouring the single minded idea to "overthrow British rule and influence and to establish a Hindu raj", and called Gandhi a "malignant, malevolent, exceedingly shrewd" politician. Wavell feared a civil war on the Indian subcontinent, and doubted Gandhi would be able to stop it.

 

The British reluctantly agreed to grant independence to the people of the Indian subcontinent, but accepted Jinnah's proposal of partitioning the land into Pakistan and India. Gandhi was involved in the final negotiations, but Stanley Wolpert states the "plan to carve up British India was never approved of or accepted by Gandhi".

 

The partition was controversial and violently disputed. More than half a million were killed in religious riots as 10 million to 12 million non-Muslims (Hindus and Sikhs mostly) migrated from Pakistan into India, and Muslims migrated from India into Pakistan, across the newly created borders of India, West Pakistan and East Pakistan.

 

Gandhi spent the day of independence not celebrating the end of the British rule but appealing for peace among his countrymen by fasting and spinning in Calcutta on 15 August 1947. The partition had gripped the Indian subcontinent with religious violence and the streets were filled with corpses. Gandhi's fasting and protests are credited for stopping the religious riots and communal violence.

 

At 5:17 pm on 30 January 1948, Gandhi was with his grandnieces in the garden of Birla House (now Gandhi Smriti), on his way to address a prayer meeting, when Nathuram Godse, a Hindu nationalist, fired three bullets into his chest from a pistol at close range. According to some accounts, Gandhi died instantly. In other accounts, such as one prepared by an eyewitness journalist, Gandhi was carried into the Birla House, into a bedroom. There he died about 30 minutes later as one of Gandhi's family members read verses from Hindu scriptures.

 

Prime Minister Jawaharlal Nehru addressed his countrymen over the All-India Radio saying:

 

Friends and comrades, the light has gone out of our lives, and there is darkness everywhere, and I do not quite know what to tell you or how to say it. Our beloved leader, Bapu as we called him, the father of the nation, is no more. Perhaps I am wrong to say that; nevertheless, we will not see him again, as we have seen him for these many years, we will not run to him for advice or seek solace from him, and that is a terrible blow, not only for me, but for millions and millions in this country.

 

Godse, a Hindu nationalist, with links to the Hindu Mahasabha and the Rashtriya Swayamsevak Sangh, made no attempt to escape; several other conspirators were soon arrested as well. The accused were Nathuram Vinayak Godse, Narayan Apte, Vinayak Damodar Savarkar, Shankar Kistayya, Dattatraya Parchure, Vishnu Karkare, Madanlal Pahwa, and Gopal Godse.

 

The trial began on 27 May 1948 and ran for eight months before Justice Atma Charan passed his final order on 10 February 1949. The prosecution called 149 witnesses, the defense none. The court found all of the defendants except one guilty as charged. Eight men were convicted for the murder conspiracy, and others were convicted for violation of the Explosive Substances Act. Savarkar was acquitted and set free. Nathuram Godse and Narayan Apte were sentenced to death by hanging and the remaining six (including Godse's brother, Gopal) were sentenced to life imprisonment.

 

Gandhi's death was mourned nationwide. Over a million people joined the five-mile-long funeral procession that took over five hours to reach Raj Ghat from Birla house, where he was assassinated, and another million watched the procession pass by. Gandhi's body was transported on a weapons carrier, whose chassis was dismantled overnight to allow a high-floor to be installed so that people could catch a glimpse of his body. The engine of the vehicle was not used; instead four drag-ropes held by 50 people each pulled the vehicle. All Indian-owned establishments in London remained closed in mourning as thousands of people from all faiths and denominations and Indians from all over Britain converged at India House in London.

 

Gandhi was cremated in accordance with Hindu tradition. His ashes were poured into urns which were sent across India for memorial services. Most of the ashes were immersed at the Sangam at Allahabad on 12 February 1948, but some were secretly taken away. In 1997, Tushar Gandhi immersed the contents of one urn, found in a bank vault and reclaimed through the courts, at the Sangam at Allahabad. Some of Gandhi's ashes were scattered at the source of the Nile River near Jinja, Uganda, and a memorial plaque marks the event. On 30 January 2008, the contents of another urn were immersed at Girgaum Chowpatty. Another urn is at the palace of the Aga Khan in Pune (where Gandhi was held as a political prisoner from 1942 to 1944) and another in the Self-Realization Fellowship Lake Shrine in Los Angeles.

 

The Birla House site where Gandhi was assassinated is now a memorial called Gandhi Smriti. The place near Yamuna river where he was cremated is the Rāj Ghāt memorial in New Delhi. A black marble platform, it bears the epigraph "Hē Rāma" (Devanagari: हे ! राम or, Hey Raam). These are said to be Gandhi's last words after he was shot.

 

New York, often called New York City or simply NYC, is the most populous city in the United States, located at the southern tip of New York State on one of the world's largest natural harbors. The city comprises five boroughs, each of which is coextensive with a respective county. It is a global city and a cultural, financial, high-tech, entertainment, and media center with a significant influence on commerce, health care, scientific output, life sciences, research, technology, education, politics, tourism, dining, art, fashion, and sports. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, and is sometimes described as the world's most important city and the capital of the world.

 

With an estimated population in 2022 of 8,335,897 distributed over 300.46 square miles (778.2 km2), the city is the most densely populated major city in the United States. New York has more than double the population of Los Angeles, the nation's second-most populous city. New York is the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area, the largest metropolitan area in the U.S. by both population and urban area. With more than 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York City is one of the world's most populous megacities. The city and its metropolitan area are the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. In 2021, the city was home to nearly 3.1 million residents born outside the U.S., the largest foreign-born population of any city in the world.

 

New York City traces its origins to Fort Amsterdam and a trading post founded on the southern tip of Manhattan Island by Dutch colonists in approximately 1624. The settlement was named New Amsterdam (Dutch: Nieuw Amsterdam) in 1626 and was chartered as a city in 1653. The city came under English control in 1664 and was renamed New York after King Charles II granted the lands to his brother, the Duke of York. The city was temporarily regained by the Dutch in July 1673 and was renamed New Orange; however, the city has been named New York since November 1674. New York City was the capital of the United States from 1785 until 1790. The modern city was formed by the 1898 consolidation of its five boroughs: Manhattan, Brooklyn, Queens, The Bronx, and Staten Island, and has been the largest U.S. city ever since.

 

Anchored by Wall Street in the Financial District of Lower Manhattan, New York City has been called both the world's premier financial and fintech center and the most economically powerful city in the world. As of 2022, the New York metropolitan area is the largest metropolitan economy in the world with a gross metropolitan product of over US$2.16 trillion. If the New York metropolitan area were its own country, it would have the tenth-largest economy in the world. The city is home to the world's two largest stock exchanges by market capitalization of their listed companies: the New York Stock Exchange and Nasdaq. New York City is an established safe haven for global investors. As of 2023, New York City is the most expensive city in the world for expatriates to live. New York City is home to the highest number of billionaires, individuals of ultra-high net worth (greater than US$30 million), and millionaires of any city in the world

 

The written history of New York City began with the first European explorer, the Italian Giovanni da Verrazzano in 1524. European settlement began with the Dutch in 1608 and New Amsterdam was founded in 1624.

 

The "Sons of Liberty" campaigned against British authority in New York City, and the Stamp Act Congress of representatives from throughout the Thirteen Colonies met in the city in 1765 to organize resistance to Crown policies. The city's strategic location and status as a major seaport made it the prime target for British seizure in 1776. General George Washington lost a series of battles from which he narrowly escaped (with the notable exception of the Battle of Harlem Heights, his first victory of the war), and the British Army occupied New York and made it their base on the continent until late 1783, attracting Loyalist refugees.

 

The city served as the national capital under the Articles of Confederation from 1785 to 1789, and briefly served as the new nation's capital in 1789–90 under the United States Constitution. Under the new government, the city hosted the inauguration of George Washington as the first President of the United States, the drafting of the United States Bill of Rights, and the first Supreme Court of the United States. The opening of the Erie Canal gave excellent steamboat connections with upstate New York and the Great Lakes, along with coastal traffic to lower New England, making the city the preeminent port on the Atlantic Ocean. The arrival of rail connections to the north and west in the 1840s and 1850s strengthened its central role.

 

Beginning in the mid-19th century, waves of new immigrants arrived from Europe dramatically changing the composition of the city and serving as workers in the expanding industries. Modern New York traces its development to the consolidation of the five boroughs in 1898 and an economic and building boom following the Great Depression and World War II. Throughout its history, New York has served as a main port of entry for many immigrants, and its cultural and economic influence has made it one of the most important urban areas in the United States and the world. The economy in the 1700s was based on farming, local production, fur trading, and Atlantic jobs like shipbuilding. In the 1700s, New York was sometimes referred to as a breadbasket colony, because one of its major crops was wheat. New York colony also exported other goods included iron ore as a raw material and as manufactured goods such as tools, plows, nails and kitchen items such as kettles, pans and pots.

 

The a

This was done for a photo project I'm working on for med school. Obviously, I'm slacking off since it's my last month :)

We've been in the same place, in different times. Missing words are thoughts.

I'm still here, and you're not. You've gone far, I've never moved.

NIghts and days in battles worned, places reflected in the mirror of the sea.

Two years for a cloud to travel half the world. Two seconds to describe it. One to blow it away.

The light of an old lighthouse reaches the young one, but it's too late. Sunset's here already. And I can't bear the night alone.

Zero is where we've been. In absence of time and space. Million is the number of the many things we'd loved to say, staring side by side at the darkening water.

“ROCKET-BORNE SEQUENCE CAMERA FILMS 1400-MILE STRIP EXTENDING FROM UPPER WYOMING INTO MEXICO -- Seven of seven. Mr. Clyde T. Holliday, of the Applied Physics Laboratory, Johns Hopkins University, located at Silver Spring, Maryland, is shown above inspecting two of the cameras used in the rocket filming sequence. Camera at left was used in the V-2 and the one on the right, (to Mr. Holliday’s left) was used in the Aerobee. Oddly enough, all three cameras, two in the Aerobee and one in the V-2, came through intact and shutters and lenses were in perfect working condition. Two cameras were placed in the Aerobee -- one loaded with color film and the other with black and white. Only one camera, loaded with black and white, was placed in the V-2. All three cameras were converted K-25 aircraft cameras designed by the Fairchild Camera and Instrument Corporation and manufactured by the Graflex Corporation of Rochester, New York. Lenses were Ilex paragon anastigmat, f: 4.5, 163[mm] made by the Ilex Optical Company, Rochester; and shutters were mad by the Graflex Corporation. Entire project was conducted under contract with the Navy Bureau of Ordnance. Mr. Holliday lives at 1232 Blair Mill Road, Silver Spring, Maryland.”

 

EASILY one of my favorite 'non-in-flight' photos. Pioneering & historic, with the man & equipment that made it possible.

 

youtu.be/3JsnNdioxQM

Credit: YouTube/JHU Applied Physics Laboratory

 

Although I don't feel like doing the research right now, I'd like to think that at least one - preferably both - of the cameras are somewhere safe...and hopefully on display...somewhere.

Why did they include Mr. Holliday's HOME address??? Indicative of a different time.

 

books.google.com/books?id=u1wzAQAAMAAJ&pg=PA34&lp...

Credit: Google books website/Popular Photography magazine, January 1949

 

www.airspacemag.com/space/the-first-photo-from-space-1372...

Credit: Air & Space magazine online website

 

Way too early:

 

www.newspapers.com/clip/9087393/clyde-thomas-holliday-obi...

Credit: Newspapers.com website

--Museum of Applied Arts--

 

-As the collections expanded, a building was erected to accommodate them. The opening of the Museum building on 25 October 1896, attended by the monarch, Francis Joseph, was the grand event marking the end of Hungary's Millennium celebrations.

 

The Museum's first two directors, György Ráth (1828–1905) and Jenő Radisics (1856–1917), were internationally renowned figures who provided the Museum with extensive and lively contacts at home and abroad, and the collections benefited accordingly.

 

Jenő Radisics takes the credit for laying the foundations of the Art Nouveau collection, particularly through his purchases at the Paris World's Fair of 1900 and at the Christmas exhibitions held in the Museum each year. He also acquired outstanding items for the historical collection.

 

After Gyula Végh took over in 1917, contacts with art collectors began to dominate. The Friends of the Museum Association also took an active part in acquiring many fine items and collections.

 

The National Collections Alliance was set up in 1922 to collectively promote the interests of several public collections. Between 1934 and 1948, the Museum of Applied Arts temporarily lost its independence and became the applied arts branch of the Hungarian National Museum.

Applied Enantiomerism to photography!!!!

Armand Jean du Plessis, 1st Duke of Richelieu; 9 September 1585 – 4 December 1642), known as Cardinal Richelieu, was a French statesman and prelate of the Catholic Church. He became known as l'Éminence rouge, or "the Red Eminence", a term derived from the title "Eminence" applied to cardinals and from the red robes that they customarily wear.

 

Consecrated a bishop in 1607, Richelieu was appointed Foreign Secretary in 1616. He continued to rise through the hierarchy of both the Catholic Church and the French government, becoming a cardinal in 1622 and chief minister to King Louis XIII of France in 1624. He retained that office until his death in 1642, when he was succeeded by Cardinal Mazarin, whose career he had fostered. Richelieu became engaged in a bitter dispute with Marie de Médici, the king's mother, and formerly his close ally.

 

Richelieu sought to consolidate royal power and restrained the power of the nobility in order to transform France into a strong centralized state. In foreign policy, his primary objectives were to check the power of the Habsburg dynasty (reigning notably in Spain and Austria) and to ensure French dominance in the Thirty Years' War of 1618–1648 after that conflict engulfed Europe. Despite suppressing the Huguenot rebellions of the 1620s, he made alliances with Protestant states like the Kingdom of England and the Dutch Republic to help him achieve his goals. However, although he was a powerful political figure in his own right, events such as the Day of the Dupes (French: Journée des Dupes) in 1630 showed that Richelieu's power still depended on the king's confidence.

 

An alumnus of the University of Paris and headmaster of the College of Sorbonne, Richelieu renovated and extended the institution. He became famous for his patronage of the arts and founded the Académie Française, the learned society responsible for matters pertaining to the French language. As an advocate for Samuel de Champlain and New France, he founded (1627) the Compagnie des Cent-Associés; he also negotiated the 1632 Treaty of Saint-Germain-en-Laye under which Quebec City returned to French rule after English privateers took it in 1629. He was created Duke of Richelieu in 1629.

 

Richelieu is known as the inventor of the table knife. Annoyed by the bad manners that were commonly displayed at the dining table by users of sharp knives (who would often use them to pick their teeth),[6] in 1637 Richelieu ordered that all of the knives on his dining table have their blades dulled and their tips rounded. The design quickly became popular throughout France and later spread to other countries.

 

Richelieu has frequently been depicted in popular fiction, notably as the lead villain in Alexandre Dumas's 1844 novel The Three Musketeers and its numerous film adaptations.

 

Early life

Born in Paris on 9 September 1585, Armand du Plessis was the fourth of five children and the last of three sons: he was delicate from childhood and suffered frequent bouts of ill-health throughout his life. His family belonged to the lesser nobility of Poitou: his father, François du Plessis, seigneur de Richelieu, was a soldier and courtier who served as the Grand Provost of France, and his mother, Susanne de La Porte, was the daughter of a famous jurist.

 

When he was five years old, Richelieu's father died of fever in the French Wars of Religion, leaving the family in debt; with the aid of royal grants, however, the family was able to avoid financial difficulties. At the age of 9, young Richelieu was sent to the College of Navarre in Paris to study philosophy. Thereafter, he began to train for a military career. His private life seems to have been typical for a young officer of the era; in 1605, aged twenty, he was treated by Théodore de Mayerne for gonorrhea.

 

Henry III had rewarded Richelieu's father for his participation in the Wars of Religion by granting his family the Bishopric of Luçon. The family appropriated most of the revenues of the bishopric for private use; they were, however, challenged by clergymen who desired the funds for ecclesiastical purposes. To protect the important source of revenue, Richelieu's mother proposed to make her second son, Alphonse, the bishop of Luçon. Alphonse, who had no desire to become a bishop, became instead a Carthusian monk. Thus, it became necessary that the younger Richelieu join the clergy. He had strong academic interests and threw himself into studying for his new post.

 

In 1606, Henry IV nominated Richelieu to become Bishop of Luçon. As Richelieu had not yet reached the canonical minimum age, it was necessary that he journey to Rome for a special dispensation from Pope Paul V. This secured, Richelieu was consecrated bishop in April 1607. Soon after he returned to his diocese in 1608, Richelieu was heralded as a reformer. He became the first bishop in France to implement the institutional reforms prescribed by the Council of Trent between 1545 and 1563.

 

At about this time, Richelieu became a friend of François Leclerc du Tremblay (better known as "Père Joseph" or "Father Joseph"), a Capuchin friar, who would later become a close confidant. Because of his closeness to Richelieu, and the grey colour of his robes, Father Joseph was also nicknamed L'éminence grise (lit. 'the Grey Eminence'). Later, Richelieu often used him as an agent during diplomatic negotiations.

 

Rise to power

In 1614, the clergymen of Poitou asked Richelieu to be one of their representatives to the Estates-General. There, he was a vigorous advocate of the Catholic Church, arguing that it should be exempt from taxes and that bishops should have more political power. He was the most prominent clergyman to support the adoption of the decrees of the Council of Trent throughout France; the Third Estate (commoners) was his chief opponent in this endeavour. At the end of the assembly, the First Estate (the clergy) chose him to deliver the address enumerating its petitions and decisions. Soon after the dissolution of the Estates-General, Richelieu entered the service of King Louis XIII's wife, Anne of Austria, as her almoner.

 

Richelieu advanced politically by faithfully serving the queen-mother's favourite, Concino Concini, the most powerful minister in the kingdom. In 1616, Richelieu was made Secretary of State, and was given responsibility for foreign affairs. Like Concini, the Bishop was one of the closest advisors of Louis XIII's mother, Marie de Médicis. The queen had become Regent of France when the nine-year-old Louis ascended the throne; although her son reached the legal age of majority in 1614, she remained the effective ruler of the realm. However, her policies, and those of Concini, proved unpopular with many in France. As a result, both Marie and Concini became the targets of intrigues at court; their most powerful enemy was Charles de Luynes. In April 1617, in a plot arranged by Luynes, Louis XIII ordered that Concini be arrested, and killed should he resist; Concini was consequently assassinated, and Marie de Médicis overthrown. His patron having died, Richelieu also lost power; he was dismissed as Secretary of State, and was removed from the court. In 1618, the king, still suspicious of the Bishop of Luçon, banished him to Avignon. There, Richelieu spent most of his time writing; he composed a catechism titled L'Instruction du chrétien.

 

In 1619, Marie de Médicis escaped from her confinement in the Château de Blois, becoming the titular leader of an aristocratic rebellion. The king and the duc de Luynes recalled Richelieu, believing that he would be able to reason with the queen. Richelieu was successful in this endeavour, mediating between her and her son. Complex negotiations bore fruit when the Treaty of Angoulême was ratified; Marie de Médicis was given complete freedom, but would remain at peace with the king. The queen-mother was restored to the royal council.

 

After the death of the king's favourite, the duc de Luynes, in 1621, Richelieu rose to power quickly. The year after, the king nominated Richelieu for a cardinalate, which Pope Gregory XV accordingly granted in September 1622. Crises in France, including a rebellion of the Huguenots, rendered Richelieu a nearly indispensable advisor to the king. After he was appointed to the royal council of ministers on 29 April 1624, he intrigued against the chief minister Charles, duc de La Vieuville. On 12 August of the same year, La Vieuville was arrested on charges of corruption, and Cardinal Richelieu took his place as the king's principal minister the following day, but the Cardinal de la Rochefoucauld nominally remained president of the council (Richelieu was officially appointed president in November 1629).

 

Amboise is a commune in the Indre-et-Loire department in central France. Today a small market town, it was once home of the French royal court.

 

Amboise lies on the banks of the river Loire, 27 kilometres (17 mi) east of Tours. It is also about 18 kilometres (11 mi) away from the historic Château de Chenonceau, situated on the river Cher near the small village of Chenonceaux. Amboise station, on the north bank of the Loire, has rail connections to Orléans, Blois and Tours.

 

Clovis I (c. 466 – 511) and the Visigoths signed a peace treaty of alliance with the Arvernians in 503, which assisted him in his defeat of the Visigothic kingdom in the Battle of Vouillé in 507.

 

Joan of Arc passed through in 1429 on her way to Orleans to the Battle of Patay.

 

Château du Clos Lucé was the residence of Leonardo da Vinci between 1516 and his death in 1519. Da Vinci died in the arms of King Francis I, and he was buried in a crypt near the Château d'Amboise. The house has lost some of its original parts, but it still stands today containing a museum of da Vinci's work and inventions, and overlooks the river Loire.

 

The Amboise conspiracy was the conspiracy of Condé and the Huguenots in 1560 against Francis II, Catherine de' Medici and the Guises.

 

The Château at Amboise was home to Mary Stewart, Queen of Scots, for much of her early life, being raised there at the French court of Henry II. She arrived in France from Scotland in 1548, aged six, via the French king's favourite palace at Saint-Germain-en-Laye near Paris, and remained in France until 1561, when she returned to her homeland—sailing up the Firth of Forth to Edinburgh on 15 August that year.

  

The Edict of Amboise (1563) conceded the free exercise of worship to the Protestants.

 

Here was born in 1743 Louis Claude de Saint-Martin, French philosopher, known as Le Philosophe Inconnu (d. 1803).

 

Abd el Kader Ibn Mouhi Ad-Din (c. 1807 – 1883) was imprisoned at the Château d'Amboise.

 

In 2019, the 500th anniversary of da Vinci's death, Amboise held many events celebrating the master's life and his work completed in the town. The number of visitors to Château du Clos Lucé, for example, was estimated as 500,000 in 2019, a 30% increase over the typical annual number.

 

The city is known for the Clos Lucé manor house where Leonardo da Vinci lived (and ultimately died) at the invitation of King Francis I of France, whose Château d'Amboise, which dominates the town, is located just 500 m (1,640 feet) away. The narrow streets contain some good examples of timbered housing.

 

Just outside the city is the Pagode de Chanteloup, a 44-metre-tall (144 ft) Chinese pagoda built in 1775 by the Duke of Choiseul. The pagoda is seven levels high, with each level slightly smaller than the last one. An interior staircase to reach all levels is open to the public.

 

The Musée de la Poste (in the Hôtel Joyeuse) is a museum tracing the history of the postal delivery service.

 

A 20th-century fountain by Max Ernst stands in front of the market place.

 

The Cutting Edge sculpture combines the city’s famous resource, steel, with water and light

 

Si Applied & Keiko Mukaide 2006

 

➤ more

Annette Tombaugh, daughter of American astronomer Clyde Tombaugh who discovered Pluto in 1930, applauds as members of the New Horizons team announce that they are naming an area on Pluto after her father during a media briefing, Wednesday, July 15, 2015 at the Johns Hopkins University Applied Physics Laboratory (APL), Laurel, Maryland. Photo Credit: (NASA/Bill Ingalls)

Item # 75017

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TU Delft.

NASA Administrator Charles Bolden talks to the New Horizons team after they received confirmation from the spacecraft that it had successfully completed the flyby of Pluto, Tuesday, July 14, 2015 in the Mission Operations Center (MOC) of the Johns Hopkins University Applied Physics Laboratory (APL), Laurel, Maryland. Photo Credit: (NASA/Bill Ingalls)

Fish, any of approximately 34,000 species of vertebrate animals (phylum Chordata) found in the fresh and salt waters of the world. Living species range from the primitive jawless lampreys and hagfishes through the cartilaginous sharks, skates, and rays to the abundant and diverse bony fishes. Most fish species are cold-blooded; however, one species, the opah (Lampris guttatus), is warm-blooded.

 

The term fish is applied to a variety of vertebrates of several evolutionary lines. It describes a life-form rather than a taxonomic group. As members of the phylum Chordata, fish share certain features with other vertebrates. These features are gill slits at some point in the life cycle, a notochord, or skeletal supporting rod, a dorsal hollow nerve cord, and a tail. Living fishes represent some five classes, which are as distinct from one another as are the four classes of familiar air-breathing animals—amphibians, reptiles, birds, and mammals. For example, the jawless fishes (Agnatha) have gills in pouches and lack limb girdles. Extant agnathans are the lampreys and the hagfishes. As the name implies, the skeletons of fishes of the class Chondrichthyes (from chondr, “cartilage,” and ichthyes, “fish”) are made entirely of cartilage. Modern fish of this class lack a swim bladder, and their scales and teeth are made up of the same placoid material. Sharks, skates, and rays are examples of cartilaginous fishes. The bony fishes are by far the largest class. Examples range from the tiny seahorse to the 450-kg (1,000-pound) blue marlin, from the flattened soles and flounders to the boxy puffers and ocean sunfishes. Unlike the scales of the cartilaginous fishes, those of bony fishes, when present, grow throughout life and are made up of thin overlapping plates of bone. Bony fishes also have an operculum that covers the gill slits.

 

The study of fishes, the science of ichthyology, is of broad importance. Fishes are of interest to humans for many reasons, the most important being their relationship with and dependence on the environment. A more obvious reason for interest in fishes is their role as a moderate but important part of the world’s food supply. This resource, once thought unlimited, is now realized to be finite and in delicate balance with the biological, chemical, and physical factors of the aquatic environment. Overfishing, pollution, and alteration of the environment are the chief enemies of proper fisheries management, both in fresh waters and in the ocean. (For a detailed discussion of the technology and economics of fisheries, see commercial fishing.) Another practical reason for studying fishes is their use in disease control. As predators on mosquito larvae, they help curb malaria and other mosquito-borne diseases.

 

Fishes are valuable laboratory animals in many aspects of medical and biological research. For example, the readiness of many fishes to acclimate to captivity has allowed biologists to study behaviour, physiology, and even ecology under relatively natural conditions. Fishes have been especially important in the study of animal behaviour, where research on fishes has provided a broad base for the understanding of the more flexible behaviour of the higher vertebrates. The zebra fish is used as a model in studies of gene expression.

 

There are aesthetic and recreational reasons for an interest in fishes. Millions of people keep live fishes in home aquariums for the simple pleasure of observing the beauty and behaviour of animals otherwise unfamiliar to them. Aquarium fishes provide a personal challenge to many aquarists, allowing them to test their ability to keep a small section of the natural environment in their homes. Sportfishing is another way of enjoying the natural environment, also indulged in by millions of people every year. Interest in aquarium fishes and sportfishing supports multimillion-dollar industries throughout the world.

 

Fishes have been in existence for more than 450 million years, during which time they have evolved repeatedly to fit into almost every conceivable type of aquatic habitat. In a sense, land vertebrates are simply highly modified fishes: when fishes colonized the land habitat, they became tetrapod (four-legged) land vertebrates. The popular conception of a fish as a slippery, streamlined aquatic animal that possesses fins and breathes by gills applies to many fishes, but far more fishes deviate from that conception than conform to it. For example, the body is elongate in many forms and greatly shortened in others; the body is flattened in some (principally in bottom-dwelling fishes) and laterally compressed in many others; the fins may be elaborately extended, forming intricate shapes, or they may be reduced or even lost; and the positions of the mouth, eyes, nostrils, and gill openings vary widely. Air breathers have appeared in several evolutionary lines.

 

Many fishes are cryptically coloured and shaped, closely matching their respective environments; others are among the most brilliantly coloured of all organisms, with a wide range of hues, often of striking intensity, on a single individual. The brilliance of pigments may be enhanced by the surface structure of the fish, so that it almost seems to glow. A number of unrelated fishes have actual light-producing organs. Many fishes are able to alter their coloration—some for the purpose of camouflage, others for the enhancement of behavioral signals.

 

Fishes range in adult length from less than 10 mm (0.4 inch) to more than 20 metres (60 feet) and in weight from about 1.5 grams (less than 0.06 ounce) to many thousands of kilograms. Some live in shallow thermal springs at temperatures slightly above 42 °C (100 °F), others in cold Arctic seas a few degrees below 0 °C (32 °F) or in cold deep waters more than 4,000 metres (13,100 feet) beneath the ocean surface. The structural and, especially, the physiological adaptations for life at such extremes are relatively poorly known and provide the scientifically curious with great incentive for study.

 

Almost all natural bodies of water bear fish life, the exceptions being very hot thermal ponds and extremely salt-alkaline lakes, such as the Dead Sea in Asia and the Great Salt Lake in North America. The present distribution of fishes is a result of the geological history and development of Earth as well as the ability of fishes to undergo evolutionary change and to adapt to the available habitats. Fishes may be seen to be distributed according to habitat and according to geographical area. Major habitat differences are marine and freshwater. For the most part, the fishes in a marine habitat differ from those in a freshwater habitat, even in adjacent areas, but some, such as the salmon, migrate from one to the other. The freshwater habitats may be seen to be of many kinds. Fishes found in mountain torrents, Arctic lakes, tropical lakes, temperate streams, and tropical rivers will all differ from each other, both in obvious gross structure and in physiological attributes. Even in closely adjacent habitats where, for example, a tropical mountain torrent enters a lowland stream, the fish fauna will differ. The marine habitats can be divided into deep ocean floors (benthic), mid-water oceanic (bathypelagic), surface oceanic (pelagic), rocky coast, sandy coast, muddy shores, bays, estuaries, and others. Also, for example, rocky coastal shores in tropical and temperate regions will have different fish faunas, even when such habitats occur along the same coastline.

 

Although much is known about the present geographical distribution of fishes, far less is known about how that distribution came about. Many parts of the fish fauna of the fresh waters of North America and Eurasia are related and undoubtedly have a common origin. The faunas of Africa and South America are related, extremely old, and probably an expression of the drifting apart of the two continents. The fauna of southern Asia is related to that of Central Asia, and some of it appears to have entered Africa. The extremely large shore-fish faunas of the Indian and tropical Pacific oceans comprise a related complex, but the tropical shore fauna of the Atlantic, although containing Indo-Pacific components, is relatively limited and probably younger. The Arctic and Antarctic marine faunas are quite different from each other. The shore fauna of the North Pacific is quite distinct, and that of the North Atlantic more limited and probably younger. Pelagic oceanic fishes, especially those in deep waters, are similar the world over, showing little geographical isolation in terms of family groups. The deep oceanic habitat is very much the same throughout the world, but species differences do exist, showing geographical areas determined by oceanic currents and water masses.

 

All aspects of the life of a fish are closely correlated with adaptation to the total environment, physical, chemical, and biological. In studies, all the interdependent aspects of fish, such as behaviour, locomotion, reproduction, and physical and physiological characteristics, must be taken into account.

 

Correlated with their adaptation to an extremely wide variety of habitats is the extremely wide variety of life cycles that fishes display. The great majority hatch from relatively small eggs a few days to several weeks or more after the eggs are scattered in the water. Newly hatched young are still partially undeveloped and are called larvae until body structures such as fins, skeleton, and some organs are fully formed. Larval life is often very short, usually less than a few weeks, but it can be very long, some lampreys continuing as larvae for at least five years. Young and larval fishes, before reaching sexual maturity, must grow considerably, and their small size and other factors often dictate that they live in a habitat different than that of the adults. For example, most tropical marine shore fishes have pelagic larvae. Larval food also is different, and larval fishes often live in shallow waters, where they may be less exposed to predators.

 

After a fish reaches adult size, the length of its life is subject to many factors, such as innate rates of aging, predation pressure, and the nature of the local climate. The longevity of a species in the protected environment of an aquarium may have nothing to do with how long members of that species live in the wild. Many small fishes live only one to three years at the most. In some species, however, individuals may live as long as 10 or 20 or even 100 years.

 

Fish behaviour is a complicated and varied subject. As in almost all animals with a central nervous system, the nature of a response of an individual fish to stimuli from its environment depends upon the inherited characteristics of its nervous system, on what it has learned from past experience, and on the nature of the stimuli. Compared with the variety of human responses, however, that of a fish is stereotyped, not subject to much modification by “thought” or learning, and investigators must guard against anthropomorphic interpretations of fish behaviour.

 

Fishes perceive the world around them by the usual senses of sight, smell, hearing, touch, and taste and by special lateral line water-current detectors. In the few fishes that generate electric fields, a process that might best be called electrolocation aids in perception. One or another of these senses often is emphasized at the expense of others, depending upon the fish’s other adaptations. In fishes with large eyes, the sense of smell may be reduced; others, with small eyes, hunt and feed primarily by smell (such as some eels).

 

Specialized behaviour is primarily concerned with the three most important activities in the fish’s life: feeding, reproduction, and escape from enemies. Schooling behaviour of sardines on the high seas, for instance, is largely a protective device to avoid enemies, but it is also associated with and modified by their breeding and feeding requirements. Predatory fishes are often solitary, lying in wait to dart suddenly after their prey, a kind of locomotion impossible for beaked parrot fishes, which feed on coral, swimming in small groups from one coral head to the next. In addition, some predatory fishes that inhabit pelagic environments, such as tunas, often school.

 

Sleep in fishes, all of which lack true eyelids, consists of a seemingly listless state in which the fish maintains its balance but moves slowly. If attacked or disturbed, most can dart away. A few kinds of fishes lie on the bottom to sleep. Most catfishes, some loaches, and some eels and electric fishes are strictly nocturnal, being active and hunting for food during the night and retiring during the day to holes, thick vegetation, or other protective parts of the environment.

 

Communication between members of a species or between members of two or more species often is extremely important, especially in breeding behaviour (see below Reproduction). The mode of communication may be visual, as between the small so-called cleaner fish and a large fish of a very different species. The larger fish often allows the cleaner to enter its mouth to remove gill parasites. The cleaner is recognized by its distinctive colour and actions and therefore is not eaten, even if the larger fish is normally a predator. Communication is often chemical, signals being sent by specific chemicals called pheromones.

 

Many fishes have a streamlined body and swim freely in open water. Fish locomotion is closely correlated with habitat and ecological niche (the general position of the animal to its environment).

 

Many fishes in both marine and fresh waters swim at the surface and have mouths adapted to feed best (and sometimes only) at the surface. Often such fishes are long and slender, able to dart at surface insects or at other surface fishes and in turn to dart away from predators; needlefishes, halfbeaks, and topminnows (such as killifish and mosquito fish) are good examples. Oceanic flying fishes escape their predators by gathering speed above the water surface, with the lower lobe of the tail providing thrust in the water. They then glide hundreds of yards on enlarged, winglike pectoral and pelvic fins. South American freshwater flying fishes escape their enemies by jumping and propelling their strongly keeled bodies out of the water.

 

So-called mid-water swimmers, the most common type of fish, are of many kinds and live in many habitats. The powerful fusiform tunas and the trouts, for example, are adapted for strong, fast swimming, the tunas to capture prey speedily in the open ocean and the trouts to cope with the swift currents of streams and rivers. The trout body form is well adapted to many habitats. Fishes that live in relatively quiet waters such as bays or lake shores or slow rivers usually are not strong, fast swimmers but are capable of short, quick bursts of speed to escape a predator. Many of these fishes have their sides flattened, examples being the sunfish and the freshwater angelfish of aquarists. Fish associated with the bottom or substrate usually are slow swimmers. Open-water plankton-feeding fishes almost always remain fusiform and are capable of rapid, strong movement (for example, sardines and herrings of the open ocean and also many small minnows of streams and lakes).

 

Bottom-living fishes are of many kinds and have undergone many types of modification of their body shape and swimming habits. Rays, which evolved from strong-swimming mid-water sharks, usually stay close to the bottom and move by undulating their large pectoral fins. Flounders live in a similar habitat and move over the bottom by undulating the entire body. Many bottom fishes dart from place to place, resting on the bottom between movements, a motion common in gobies. One goby relative, the mudskipper, has taken to living at the edge of pools along the shore of muddy mangrove swamps. It escapes its enemies by flipping rapidly over the mud, out of the water. Some catfishes, synbranchid eels, the so-called climbing perch, and a few other fishes venture out over damp ground to find more promising waters than those that they left. They move by wriggling their bodies, sometimes using strong pectoral fins; most have accessory air-breathing organs. Many bottom-dwelling fishes live in mud holes or rocky crevices. Marine eels and gobies commonly are found in such habitats and for the most part venture far beyond their cavelike homes. Some bottom dwellers, such as the clingfishes (Gobiesocidae), have developed powerful adhesive disks that enable them to remain in place on the substrate in areas such as rocky coasts, where the action of the waves is great.

 

The methods of reproduction in fishes are varied, but most fishes lay a large number of small eggs, fertilized and scattered outside of the body. The eggs of pelagic fishes usually remain suspended in the open water. Many shore and freshwater fishes lay eggs on the bottom or among plants. Some have adhesive eggs. The mortality of the young and especially of the eggs is very high, and often only a few individuals grow to maturity out of hundreds, thousands, and in some cases millions of eggs laid.

 

Males produce sperm, usually as a milky white substance called milt, in two (sometimes one) testes within the body cavity. In bony fishes a sperm duct leads from each testis to a urogenital opening behind the vent or anus. In sharks and rays and in cyclostomes the duct leads to a cloaca. Sometimes the pelvic fins are modified to help transmit the milt to the eggs at the female’s vent or on the substrate where the female has placed them. Sometimes accessory organs are used to fertilize females internally—for example, the claspers of many sharks and rays.

 

In the females the eggs are formed in two ovaries (sometimes only one) and pass through the ovaries to the urogenital opening and to the outside. In some fishes the eggs are fertilized internally but are shed before development takes place. Members of about a dozen families each of bony fishes (teleosts) and sharks bear live young. Many skates and rays also bear live young. In some bony fishes the eggs simply develop within the female, the young emerging when the eggs hatch (ovoviviparous). Others develop within the ovary and are nourished by ovarian tissues after hatching (viviparous). There are also other methods utilized by fishes to nourish young within the female. In all live-bearers the young are born at a relatively large size and are few in number. In one family of primarily marine fishes, the surfperches from the Pacific coast of North America, Japan, and Korea, the males of at least one species are born sexually mature, although they are not fully grown.

 

Some fishes are hermaphroditic—an individual producing both sperm and eggs, usually at different stages of its life. Self-fertilization, however, is probably rare.

 

Successful reproduction and, in many cases, defense of the eggs and the young are assured by rather stereotypical but often elaborate courtship and parental behaviour, either by the male or the female or both. Some fishes prepare nests by hollowing out depressions in the sand bottom (cichlids, for example), build nests with plant materials and sticky threads excreted by the kidneys (sticklebacks), or blow a cluster of mucus-covered bubbles at the water surface (gouramis). The eggs are laid in these structures. Some varieties of cichlids and catfishes incubate eggs in their mouths.

 

Some fishes, such as salmon, undergo long migrations from the ocean and up large rivers to spawn in the gravel beds where they themselves hatched (anadromous fishes). Some, such as the freshwater eels (family Anguillidae), live and grow to maturity in fresh water and migrate to the sea to spawn (catadromous fishes). Other fishes undertake shorter migrations from lakes into streams, within the ocean, or enter spawning habitats that they do not ordinarily occupy in other ways.

 

The basic structure and function of the fish body are similar to those of all other vertebrates. The usual four types of tissues are present: surface or epithelial, connective (bone, cartilage, and fibrous tissues, as well as their derivative, blood), nerve, and muscle tissues. In addition, the fish’s organs and organ systems parallel those of other vertebrates.

 

The typical fish body is streamlined and spindle-shaped, with an anterior head, a gill apparatus, and a heart, the latter lying in the midline just below the gill chamber. The body cavity, containing the vital organs, is situated behind the head in the lower anterior part of the body. The anus usually marks the posterior termination of the body cavity and most often occurs just in front of the base of the anal fin. The spinal cord and vertebral column continue from the posterior part of the head to the base of the tail fin, passing dorsal to the body cavity and through the caudal (tail) region behind the body cavity. Most of the body is of muscular tissue, a high proportion of which is necessitated by swimming. In the course of evolution this basic body plan has been modified repeatedly into the many varieties of fish shapes that exist today.

 

The skeleton forms an integral part of the fish’s locomotion system, as well as serving to protect vital parts. The internal skeleton consists of the skull bones (except for the roofing bones of the head, which are really part of the external skeleton), the vertebral column, and the fin supports (fin rays). The fin supports are derived from the external skeleton but will be treated here because of their close functional relationship to the internal skeleton. The internal skeleton of cyclostomes, sharks, and rays is of cartilage; that of many fossil groups and some primitive living fishes is mostly of cartilage but may include some bone. In place of the vertebral column, the earliest vertebrates had a fully developed notochord, a flexible stiff rod of viscous cells surrounded by a strong fibrous sheath. During the evolution of modern fishes the rod was replaced in part by cartilage and then by ossified cartilage. Sharks and rays retain a cartilaginous vertebral column; bony fishes have spool-shaped vertebrae that in the more primitive living forms only partially replace the notochord. The skull, including the gill arches and jaws of bony fishes, is fully, or at least partially, ossified. That of sharks and rays remains cartilaginous, at times partially replaced by calcium deposits but never by true bone.

 

The supportive elements of the fins (basal or radial bones or both) have changed greatly during fish evolution. Some of these changes are described in the section below (Evolution and paleontology). Most fishes possess a single dorsal fin on the midline of the back. Many have two and a few have three dorsal fins. The other fins are the single tail and anal fins and paired pelvic and pectoral fins. A small fin, the adipose fin, with hairlike fin rays, occurs in many of the relatively primitive teleosts (such as trout) on the back near the base of the caudal fin.

 

The skin of a fish must serve many functions. It aids in maintaining the osmotic balance, provides physical protection for the body, is the site of coloration, contains sensory receptors, and, in some fishes, functions in respiration. Mucous glands, which aid in maintaining the water balance and offer protection from bacteria, are extremely numerous in fish skin, especially in cyclostomes and teleosts. Since mucous glands are present in the modern lampreys, it is reasonable to assume that they were present in primitive fishes, such as the ancient Silurian and Devonian agnathans. Protection from abrasion and predation is another function of the fish skin, and dermal (skin) bone arose early in fish evolution in response to this need. It is thought that bone first evolved in skin and only later invaded the cartilaginous areas of the fish’s body, to provide additional support and protection. There is some argument as to which came first, cartilage or bone, and fossil evidence does not settle the question. In any event, dermal bone has played an important part in fish evolution and has different characteristics in different groups of fishes. Several groups are characterized at least in part by the kind of bony scales they possess.

 

Scales have played an important part in the evolution of fishes. Primitive fishes usually had thick bony plates or thick scales in several layers of bone, enamel, and related substances. Modern teleost fishes have scales of bone, which, while still protective, allow much more freedom of motion in the body. A few modern teleosts (some catfishes, sticklebacks, and others) have secondarily acquired bony plates in the skin. Modern and early sharks possessed placoid scales, a relatively primitive type of scale with a toothlike structure, consisting of an outside layer of enamel-like substance (vitrodentine), an inner layer of dentine, and a pulp cavity containing nerves and blood vessels. Primitive bony fishes had thick scales of either the ganoid or the cosmoid type. Cosmoid scales have a hard, enamel-like outer layer, an inner layer of cosmine (a form of dentine), and then a layer of vascular bone (isopedine). In ganoid scales the hard outer layer is different chemically and is called ganoin. Under this is a cosminelike layer and then a vascular bony layer. The thin, translucent bony scales of modern fishes, called cycloid and ctenoid (the latter distinguished by serrations at the edges), lack enameloid and dentine layers.

 

Skin has several other functions in fishes. It is well supplied with nerve endings and presumably receives tactile, thermal, and pain stimuli. Skin is also well supplied with blood vessels. Some fishes breathe in part through the skin, by the exchange of oxygen and carbon dioxide between the surrounding water and numerous small blood vessels near the skin surface.

 

Skin serves as protection through the control of coloration. Fishes exhibit an almost limitless range of colours. The colours often blend closely with the surroundings, effectively hiding the animal. Many fishes use bright colours for territorial advertisement or as recognition marks for other members of their own species, or sometimes for members of other species. Many fishes can change their colour to a greater or lesser degree, by movement of pigment within the pigment cells (chromatophores). Black pigment cells (melanophores), of almost universal occurrence in fishes, are often juxtaposed with other pigment cells. When placed beneath iridocytes or leucophores (bearing the silvery or white pigment guanine), melanophores produce structural colours of blue and green. These colours are often extremely intense, because they are formed by refraction of light through the needlelike crystals of guanine. The blue and green refracted colours are often relatively pure, lacking the red and yellow rays, which have been absorbed by the black pigment (melanin) of the melanophores. Yellow, orange, and red colours are produced by erythrophores, cells containing the appropriate carotenoid pigments. Other colours are produced by combinations of melanophores, erythrophores, and iridocytes.

 

The major portion of the body of most fishes consists of muscles. Most of the mass is trunk musculature, the fin muscles usually being relatively small. The caudal fin is usually the most powerful fin, being moved by the trunk musculature. The body musculature is usually arranged in rows of chevron-shaped segments on each side. Contractions of these segments, each attached to adjacent vertebrae and vertebral processes, bends the body on the vertebral joint, producing successive undulations of the body, passing from the head to the tail, and producing driving strokes of the tail. It is the latter that provides the strong forward movement for most fishes.

 

The digestive system, in a functional sense, starts at the mouth, with the teeth used to capture prey or collect plant foods. Mouth shape and tooth structure vary greatly in fishes, depending on the kind of food normally eaten. Most fishes are predacious, feeding on small invertebrates or other fishes and have simple conical teeth on the jaws, on at least some of the bones of the roof of the mouth, and on special gill arch structures just in front of the esophagus. The latter are throat teeth. Most predacious fishes swallow their prey whole, and the teeth are used for grasping and holding prey, for orienting prey to be swallowed (head first) and for working the prey toward the esophagus. There are a variety of tooth types in fishes. Some fishes, such as sharks and piranhas, have cutting teeth for biting chunks out of their victims. A shark’s tooth, although superficially like that of a piranha, appears in many respects to be a modified scale, while that of the piranha is like that of other bony fishes, consisting of dentine and enamel. Parrot fishes have beaklike mouths with short incisor-like teeth for breaking off coral and have heavy pavementlike throat teeth for crushing the coral. Some catfishes have small brushlike teeth, arranged in rows on the jaws, for scraping plant and animal growth from rocks. Many fishes (such as the Cyprinidae or minnows) have no jaw teeth at all but have very strong throat teeth.

 

Some fishes gather planktonic food by straining it from their gill cavities with numerous elongate stiff rods (gill rakers) anchored by one end to the gill bars. The food collected on these rods is passed to the throat, where it is swallowed. Most fishes have only short gill rakers that help keep food particles from escaping out the mouth cavity into the gill chamber.

 

Once reaching the throat, food enters a short, often greatly distensible esophagus, a simple tube with a muscular wall leading into a stomach. The stomach varies greatly in fishes, depending upon the diet. In most predacious fishes it is a simple straight or curved tube or pouch with a muscular wall and a glandular lining. Food is largely digested there and leaves the stomach in liquid form.

 

Between the stomach and the intestine, ducts enter the digestive tube from the liver and pancreas. The liver is a large, clearly defined organ. The pancreas may be embedded in it, diffused through it, or broken into small parts spread along some of the intestine. The junction between the stomach and the intestine is marked by a muscular valve. Pyloric ceca (blind sacs) occur in some fishes at this junction and have a digestive or absorptive function or both.

 

The intestine itself is quite variable in length, depending upon the fish’s diet. It is short in predacious forms, sometimes no longer than the body cavity, but long in herbivorous forms, being coiled and several times longer than the entire length of the fish in some species of South American catfishes. The intestine is primarily an organ for absorbing nutrients into the bloodstream. The larger its internal surface, the greater its absorptive efficiency, and a spiral valve is one method of increasing its absorption surface.

 

Sharks, rays, chimaeras, lungfishes, surviving chondrosteans, holosteans, and even a few of the more primitive teleosts have a spiral valve or at least traces of it in the intestine. Most modern teleosts have increased the area of the intestinal walls by having numerous folds and villi (fingerlike projections) somewhat like those in humans. Undigested substances are passed to the exterior through the anus in most teleost fishes. In lungfishes, sharks, and rays, it is first passed through the cloaca, a common cavity receiving the intestinal opening and the ducts from the urogenital system.

 

Oxygen and carbon dioxide dissolve in water, and most fishes exchange dissolved oxygen and carbon dioxide in water by means of the gills. The gills lie behind and to the side of the mouth cavity and consist of fleshy filaments supported by the gill arches and filled with blood vessels, which give gills a bright red colour. Water taken in continuously through the mouth passes backward between the gill bars and over the gill filaments, where the exchange of gases takes place. The gills are protected by a gill cover in teleosts and many other fishes but by flaps of skin in sharks, rays, and some of the older fossil fish groups. The blood capillaries in the gill filaments are close to the gill surface to take up oxygen from the water and to give up excess carbon dioxide to the water.

 

Most modern fishes have a hydrostatic (ballast) organ, called the swim bladder, that lies in the body cavity just below the kidney and above the stomach and intestine. It originated as a diverticulum of the digestive canal. In advanced teleosts, especially the acanthopterygians, the bladder has lost its connection with the digestive tract, a condition called physoclistic. The connection has been retained (physostomous) by many relatively primitive teleosts. In several unrelated lines of fishes, the bladder has become specialized as a lung or, at least, as a highly vascularized accessory breathing organ. Some fishes with such accessory organs are obligate air breathers and will drown if denied access to the surface, even in well-oxygenated water. Fishes with a hydrostatic form of swim bladder can control their depth by regulating the amount of gas in the bladder. The gas, mostly oxygen, is secreted into the bladder by special glands, rendering the fish more buoyant; the gas is absorbed into the bloodstream by another special organ, reducing the overall buoyancy and allowing the fish to sink. Some deep-sea fishes may have oils, rather than gas, in the bladder. Other deep-sea and some bottom-living forms have much-reduced swim bladders or have lost the organ entirely.

 

The swim bladder of fishes follows the same developmental pattern as the lungs of land vertebrates. There is no doubt that the two structures have the same historical origin in primitive fishes. More or less intermediate forms still survive among the more primitive types of fishes, such as the lungfishes Lepidosiren and Protopterus.

 

The circulatory, or blood vascular, system consists of the heart, the arteries, the capillaries, and the veins. It is in the capillaries that the interchange of oxygen, carbon dioxide, nutrients, and other substances such as hormones and waste products takes place. The capillaries lead to the veins, which return the venous blood with its waste products to the heart, kidneys, and gills. There are two kinds of capillary beds: those in the gills and those in the rest of the body. The heart, a folded continuous muscular tube with three or four saclike enlargements, undergoes rhythmic contractions and receives venous blood in a sinus venosus. It passes the blood to an auricle and then into a thick muscular pump, the ventricle. From the ventricle the blood goes to a bulbous structure at the base of a ventral aorta just below the gills. The blood passes to the afferent (receiving) arteries of the gill arches and then to the gill capillaries. There waste gases are given off to the environment, and oxygen is absorbed. The oxygenated blood enters efferent (exuant) arteries of the gill arches and then flows into the dorsal aorta. From there blood is distributed to the tissues and organs of the body. One-way valves prevent backflow. The circulation of fishes thus differs from that of the reptiles, birds, and mammals in that oxygenated blood is not returned to the heart prior to distribution to the other parts of the body.

 

The primary excretory organ in fishes, as in other vertebrates, is the kidney. In fishes some excretion also takes place in the digestive tract, skin, and especially the gills (where ammonia is given off). Compared with land vertebrates, fishes have a special problem in maintaining their internal environment at a constant concentration of water and dissolved substances, such as salts. Proper balance of the internal environment (homeostasis) of a fish is in a great part maintained by the excretory system, especially the kidney.

 

The kidney, gills, and skin play an important role in maintaining a fish’s internal environment and checking the effects of osmosis. Marine fishes live in an environment in which the water around them has a greater concentration of salts than they can have inside their body and still maintain life. Freshwater fishes, on the other hand, live in water with a much lower concentration of salts than they require inside their bodies. Osmosis tends to promote the loss of water from the body of a marine fish and absorption of water by that of a freshwater fish. Mucus in the skin tends to slow the process but is not a sufficient barrier to prevent the movement of fluids through the permeable skin. When solutions on two sides of a permeable membrane have different concentrations of dissolved substances, water will pass through the membrane into the more concentrated solution, while the dissolved chemicals move into the area of lower concentration (diffusion).

 

The kidney of freshwater fishes is often larger in relation to body weight than that of marine fishes. In both groups the kidney excretes wastes from the body, but the kidney of freshwater fishes also excretes large amounts of water, counteracting the water absorbed through the skin. Freshwater fishes tend to lose salt to the environment and must replace it. They get some salt from their food, but the gills and skin inside the mouth actively absorb salt from water passed through the mouth. This absorption is performed by special cells capable of moving salts against the diffusion gradient. Freshwater fishes drink very little water and take in little water with their food.

 

Marine fishes must conserve water, and therefore their kidneys excrete little water. To maintain their water balance, marine fishes drink large quantities of seawater, retaining most of the water and excreting the salt. Most nitrogenous waste in marine fishes appears to be secreted by the gills as ammonia. Marine fishes can excrete salt by clusters of special cells (chloride cells) in the gills.

 

There are several teleosts—for example, the salmon—that travel between fresh water and seawater and must adjust to the reversal of osmotic gradients. They adjust their physiological processes by spending time (often surprisingly little time) in the intermediate brackish environment.

 

Marine hagfishes, sharks, and rays have osmotic concentrations in their blood about equal to that of seawater and so do not have to drink water nor perform much physiological work to maintain their osmotic balance. In sharks and rays the osmotic concentration is kept high by retention of urea in the blood. Freshwater sharks have a lowered concentration of urea in the blood.

 

Endocrine glands secrete their products into the bloodstream and body tissues and, along with the central nervous system, control and regulate many kinds of body functions. Cyclostomes have a well-developed endocrine system, and presumably it was well developed in the early Agnatha, ancestral to modern fishes. Although the endocrine system in fishes is similar to that of higher vertebrates, there are numerous differences in detail. The pituitary, the thyroid, the suprarenals, the adrenals, the pancreatic islets, the sex glands (ovaries and testes), the inner wall of the intestine, and the bodies of the ultimobranchial gland make up the endocrine system in fishes. There are some others whose function is not well understood. These organs regulate sexual activity and reproduction, growth, osmotic pressure, general metabolic activities such as the storage of fat and the utilization of foodstuffs, blood pressure, and certain aspects of skin colour. Many of these activities are also controlled in part by the central nervous system, which works with the endocrine system in maintaining the life of a fish. Some parts of the endocrine system are developmentally, and undoubtedly evolutionarily, derived from the nervous system.

 

As in all vertebrates, the nervous system of fishes is the primary mechanism coordinating body activities, as well as integrating these activities in the appropriate manner with stimuli from the environment. The central nervous system, consisting of the brain and spinal cord, is the primary integrating mechanism. The peripheral nervous system, consisting of nerves that connect the brain and spinal cord to various body organs, carries sensory information from special receptor organs such as the eyes, internal ears, nares (sense of smell), taste glands, and others to the integrating centres of the brain and spinal cord. The peripheral nervous system also carries information via different nerve cells from the integrating centres of the brain and spinal cord. This coded information is carried to the various organs and body systems, such as the skeletal muscular system, for appropriate action in response to the original external or internal stimulus. Another branch of the nervous system, the autonomic nervous system, helps to coordinate the activities of many glands and organs and is itself closely connected to the integrating centres of the brain.

 

The brain of the fish is divided into several anatomical and functional parts, all closely interconnected but each serving as the primary centre of integrating particular kinds of responses and activities. Several of these centres or parts are primarily associated with one type of sensory perception, such as sight, hearing, or smell (olfaction).

 

The sense of smell is important in almost all fishes. Certain eels with tiny eyes depend mostly on smell for location of food. The olfactory, or nasal, organ of fishes is located on the dorsal surface of the snout. The lining of the nasal organ has special sensory cells that perceive chemicals dissolved in the water, such as substances from food material, and send sensory information to the brain by way of the first cranial nerve. Odour also serves as an alarm system. Many fishes, especially various species of freshwater minnows, react with alarm to a chemical released from the skin of an injured member of their own species.

 

Many fishes have a well-developed sense of taste, and tiny pitlike taste buds or organs are located not only within their mouth cavities but also over their heads and parts of their body. Catfishes, which often have poor vision, have barbels (“whiskers”) that serve as supplementary taste organs, those around the mouth being actively used to search out food on the bottom. Some species of naturally blind cave fishes are especially well supplied with taste buds, which often cover most of their body surface.

 

Sight is extremely important in most fishes. The eye of a fish is basically like that of all other vertebrates, but the eyes of fishes are extremely varied in structure and adaptation. In general, fishes living in dark and dim water habitats have large eyes, unless they have specialized in some compensatory way so that another sense (such as smell) is dominant, in which case the eyes will often be reduced. Fishes living in brightly lighted shallow waters often will have relatively small but efficient eyes. Cyclostomes have somewhat less elaborate eyes than other fishes, with skin stretched over the eyeball perhaps making their vision somewhat less effective. Most fishes have a spherical lens and accommodate their vision to far or near subjects by moving the lens within the eyeball. A few sharks accommodate by changing the shape of the lens, as in land vertebrates. Those fishes that are heavily dependent upon the eyes have especially strong muscles for accommodation. Most fishes see well, despite the restrictions imposed by frequent turbidity of the water and by light refraction.

 

Fossil evidence suggests that colour vision evolved in fishes more than 300 million years ago, but not all living fishes have retained this ability. Experimental evidence indicates that many shallow-water fishes, if not all, have colour vision and see some colours especially well, but some bottom-dwelling shore fishes live in areas where the water is sufficiently deep to filter out most if not all colours, and these fishes apparently never see colours. When tested in shallow water, they apparently are unable to respond to colour differences.

 

Sound perception and balance are intimately associated senses in a fish. The organs of hearing are entirely internal, located within the skull, on each side of the brain and somewhat behind the eyes. Sound waves, especially those of low frequencies, travel readily through water and impinge directly upon the bones and fluids of the head and body, to be transmitted to the hearing organs. Fishes readily respond to sound; for example, a trout conditioned to escape by the approach of fishermen will take flight upon perceiving footsteps on a stream bank even if it cannot see a fisherman. Compared with humans, however, the range of sound frequencies heard by fishes is greatly restricted. Many fishes communicate with each other by producing sounds in their swim bladders, in their throats by rasping their teeth, and in other ways.

 

A fish or other vertebrate seldom has to rely on a single type of sensory information to determine the nature of the environment around it. A catfish uses taste and touch when examining a food object with its oral barbels. Like most other animals, fishes have many touch receptors over their body surface. Pain and temperature receptors also are present in fishes and presumably produce the same kind of information to a fish as to humans. Fishes react in a negative fashion to stimuli that would be painful to human beings, suggesting that they feel a sensation of pain.

 

An important sensory system in fishes that is absent in other vertebrates (except some amphibians) is the lateral line system. This consists of a series of heavily innervated small canals located in the skin and bone around the eyes, along the lower jaw, over the head, and down the mid-side of the body, where it is associated with the scales. Intermittently along these canals are located tiny sensory organs (pit organs) that apparently detect changes in pressure. The system allows a fish to sense changes in water currents and pressure, thereby helping the fish to orient itself to the various changes that occur in the physical environment.

  

66136 DB with YIWU-LONDON TRAIN Decals applied with the 0M69 BURTON OT W YARD MAURICE H light engine movement @ Wetmore road bridge , Burton on Trent , Saturday 11th FEBRUARY 2017

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Sculpture showing boat designs, four large steel chains and silhouettes of faces to represent the town's fishing fleet and blast furnace. It is the first of two of Randall's sculptures celebrating the history of fishing and steelmaking in Redcar, the first is Lifelines, standing 1 km to the east. The name Sinterlation, comes from sinter, a granulated material applied to the top of a blast furnace

 

Redcar is a seaside town on the Yorkshire Coast in the Redcar and Cleveland unitary authority in the ceremonial county of North Yorkshire, England. It is located 7 miles (11 km) east of Middlesbrough.

 

The Teesside built-up area's Redcar subdivision had a population of 37,073 at the 2011 Census. The town is made up of Coatham, Dormanstown, Kirkleatham, Newcomen, West Dyke, Wheatlands and Zetland.

 

It gained a town charter in 1922, from then until 1968 it was governed by the municipal borough of Redcar. Since the abolition of County Borough of Teesside, which existed from 1968 until 1974, the town has been unparished.

 

Redcar occupies a low-lying site by the sea; the second element of its name is from Old Norse kjarr, meaning 'marsh', and the first may be either Old English (Anglo-Saxon) rēad meaning 'red' or OE hrēod 'reed'. The town originated as a fishing hamlet in the 14th century, trading with the larger adjacent hamlet of Coatham. Until the mid-19th century it was within the parish of Marske-by-the-Sea – mentioned in the Domesday Book of 1086.

 

Numerous ships have foundered off the Redcar coastline and many of their wrecks still exist. The Zetland is the world's oldest surviving lifeboat. It was built by Henry Greathead of South Shields and is housed in a volunteer-led sea-front museum. The lifeboat was first stationed at Redcar in 1802.

 

As seaside holidays became fashionable in the early 19th century, Redcar's facilities expanded. By 1841, Redcar had 794 inhabitants. In 1846, work was completed on the Middlesbrough and Redcar Railway and the presently named Redcar Central station, created to attract tourism and trade.

 

Redcar's population expansion corresponded with Middlesbrough's, with the discovery in 1850 of iron ore in the Eston area of Cleveland Hills. Redcar prospered as a seaside town drawing tourists attracted by eight miles of sands stretching from South Gare to Saltburn-by-the-Sea.

 

Plans for a pier were drawn up in 1866, but lay dormant until prompted by the announcement of plans to build a pier at Coatham in 1871. Coatham Pier was wrecked before it was completed when two sailing ships were driven through it in a storm. It had to be shortened because of the cost of repairs and was re-opened with an entrance with two kiosks and a roller-skating rink on the Redcar side, and a bandstand halfway along its length.

 

Redcar Racecourse was created in 1875. Redcar Pier, another pier as well as Coatham Pier, was built in the late 1870s. In October 1880 the brig Luna caused £1,000 worth of damage to this pier. In New Year's Eve 1885 SS Cochrane demolished the landing stage. and in 1897 the schooner Amarant went through the pier. A year later, its head and bandstand burned down.

 

In October 1898 the Coatham Pier was almost wrecked when the barque Birger struck it and the pier was thereafter allowed to disintegrate. An anchor from the Birger can be seen on the sea front pavement close to the Zetland Lifeboat Museum.

 

In 1907 a pavilion ballroom was built on Redcar Pier behind the entrance kiosks and in 1928 it was extended. A glass house for concerts was added to the remains of Coatham Pier's entrance. The presently named Redcar East railway station was built in 1929.

 

In 1929 Coatham Pier's glasshouse was replaced by the New Pavilion theatre. After the war, comedian and entertainer Larry Grayson coined his catchphrase "Shut that Door!" while performing there, since the stage door was open to the cold North Sea breeze.

 

Redcar Pier was deliberately breached (sectioned) in 1940 to prevent its use by enemy invasion forces. As a result of sectioning, damage by a mine explosion and deterioration it was never reconnected and instead allowed to become even more dilapidated.

 

In 1964 the New Pavilion Theatre was transformed into the Regent Cinema. The Redcar Pier pavilion continued in use after the war but storm damage led to it being declared unsafe and it was demolished in 1980–1981.

 

The town's main employers in the post-war era were the nearby Teesside Steelworks at Warrenby, founded by Dorman Long in 1917, and the ICI Wilton chemical works. The steel produced at Dorman Long was used to build the Sydney Harbour Bridge, Tyne Bridge, Auckland Harbour Bridge and many others. Both the Warrenby and Lackenby sites became part of Tata Steel when Corus was taken over in 2007, but continued to trade under the Corus name until at least February 2008. SSI bought the plant from Tata Steel in February 2011, for £320 million.

 

After a two-year hiatus following the mothballing of the plant in February 2010, steel was once again being made at Redcar. The Thai owners of the former Corus Plant at Lackenby, Sahaviriya Steel Industries (SSI), re-ignited the blast furnace, one of the largest in Europe, on 15 April 2012.

 

On 18 September 2015, production was paused due to the decline in steel prices. On 28 September 2015, the plant was "mothballed" amid poor steel trading conditions across the world and a drop in steel prices. On 2 October, the owner of the site, SSI UK, entered liquidation. On 12 October 2015 the administrator announced that there was no realistic prospect of finding a buyer and the ovens would be extinguished.

 

Wards periodically change, as of 2018 the town is made up of Coatham, Dormanstown, Kirkleatham, Newcomen, West Dyke, Wheatlands and Zetland. Redcar is made up of areas that do not lend their name to a ward: Warrenby, Lakes Estate, Redcar East, The Ings, Ings Farm, Mickledales and Westfield.

 

On 5 May 2011 Redcar elected its councillors to Redcar & Cleveland Borough Council. There was a by-election on 18 November 2011 for two vacant seats in the Zetland ward, held onto by the Liberal Democrats, and on 19 January 2012 there was a by-election for a vacant seat in Newcomen ward subsequently gained by Labour from the Liberal Democrats.

 

Redcar was formerly a township and chapelry in the parishes of Marske and Upleatham, in 1866 Redcar became a separate civil parish. A district in Redcar's name formed in 1885. Three years after the district was formed, the centuries-old Yorkshire authority was replaced by the North Riding of Yorkshire county council. The district became an urban district in 1894.

 

The settlement's town charter occurred in 1922, the district was able to be styled as a municipal borough and the settlement as a town. On 1 April 1974 the parish was abolished and merged with Teesside and Marske. On 1 April 1968 the municipal borough was abolished merged into the County Borough of Teesside, part also went to Saltburn and Marske by the Sea Urban District. This removed it from the administrative county however still ceremonially in the area. In 1961 the parish had a population of 31,460.

 

The 1974 reform created the non-metropolitan County of Cleveland, under the Langbaurgh non-metropolitan district. The county was also inserted into the North East England region. After further changes in 1996, the district became a unitary authority called Redcar & Cleveland in the ceremonial county of North Yorkshire, the county straddling two regions of England.

 

The North East England region was sub-divided into combined authorities, in May 2017 the Tees Valley area voted for their first mayor. The Conservative candidate, Ben Houchen, won the election and is now in his second term.

 

From 1987 to 2001, the local Member of Parliament (MP) was Mo Mowlam. From 2001 to 2010 the MP was Vera Baird. In the 2010 general election there was a swing to the Liberal Democrats with Ian Swales being elected. But, in the 2015 general election, Anna Turley, a Labour MP, won back Redcar. In the snap 2017 general election, Anna Turley held onto that seat. In the general election on 12 December 2019, Anna Turley lost her seat to Conservative candidate Jacob Young with a majority of 3,527 votes. Young becomes the third conservative MP to represent Redcar, the first being Royal Naval Commander Robert Tatton Bower 1931 to 1945 and Scarborough businessman Wilfred Proudfoot between 1959 and 1964 when Redcar was part of the Cleveland constituency.

 

The Palace Hub, on the beach front, was built by Redcar and Cleveland Council for the creative and cultural sector of the town. An art gallery and business start up centre are located in the building. The main library is in the Redcar Heart building in the centre of the town and there is a long-standing Redcar Literary Institute, which was founded in 1896.

 

Redcar is home to the Tuned In! Centre, which opened in 2011 and overlooks the sea front. The multi purpose venue hosts live music as well as creative workshops for young people. The annual event Clubland on the Beach, which showcases dance acts attracting visitors from across the country, has been held at Majuba Road in Redcar for the past three years.

 

The town has had several parks built for tourism: Coatham Enclosure, Locke Park, Zetland Park, Lily Park, an Amusement Park with a roller coaster, and a small sea front park known locally as Titty Bottle Park. The Amusement Park near the railway closed decades ago, and Titty Bottle Park was absorbed into the redeveloped sea front around Redcar Beacon.

 

At the west end of High Street is a Grade II listed clock tower, a memorial to King Edward VII who was a regular visitor to Redcar. The tower has now been refurbished.

 

Construction of the Redcar Beacon started in 2011. In 2013, when the building had been completed, it was nominated for the Building Design Carbuncle Cup for worst new building. It came third in the whole of the UK. In December 2015, the Beacon was damaged by winds from Storm Desmond, with several large pieces of panelling falling onto the beach below. It was also damaged in winter 2016, where a panel from the top fell off in a storm.

 

There are 23 listed buildings in Redcar. The Grade I Listed Sir William Turner's Hospital in Kirkleatham was built between 1674–1676 and listed on the 14 June 1952.

 

On the Esplanade is the Grade II-Listed Zetland Lifeboat Museum housing the world's oldest lifeboat Zetland Lifeboat.

 

The Victorian, former Coatham Hotel stands on Newcomen Terrace sea front.[36][37] The ballroom of the hotel was home to the Redcar Jazz Club, a venue for the up-and-coming bands of the late 1960s and early 1970s.

 

In the south-east of Redcar is an aircraft listening post built in 1916 during the First World War as part of a regional defence system to detect approaching aircraft, principally Zeppelins, and give early warning.It is an example of an acoustic mirror, of which other examples can be found along the east coast of Britain. The mirror was used up until the invention of radar and although it was built on open fields today a modern housing estate now surrounds it. Only the concrete sound mirror remains and is now a Grade II listed building.

 

To the east of Redcar is the grade II* listed Church of St Peter, designed by Ignatius Bonomi and built 1822–29. In 1818, Lord Dundas gave land for a church, St Peters. The foundation stone was laid by Lady Turner of Kirkleatham in 1823. Initially it was a daughter church of Marske, but became an independent parish in 1867. It has a window commemorating local benefactor Sir William Turner.

 

Redcar has two railway stations, on the Tees Valley line, with trains operated by Northern and TransPennine Express, namely Redcar Central and Redcar East. A third station Redcar British Steel, which closed in December 2019, served the steelworks.

 

The main roads through the town are the A1085 and the A1042, with the A174 bypassing. Redcar is served primarily by Arriva North East buses, connecting Redcar with the surrounding towns and villages.

 

The Pangea North and CANTAT-3 submarine telecommunication cables both come ashore between Redcar and Marske-by-the-Sea.

 

See also: List of schools in Redcar and Cleveland

The town's further education college is Redcar & Cleveland College.

 

The town's secondary schools are: Outwood Academy Redcar, Sacred Heart Catholic Secondary and Rye Hills Academy.

 

There are eleven primary schools in Redcar: Coatham, Dormanstown, Green Gates, Ings Farm, John E Batty, Lakes, Newcomen, Riverdale, St Benedict's, Wheatlands and Zetland.

 

Local news and television programmes are provided by BBC North East and Cumbria and ITV Tyne Tees, the local television station TalkTeesside also broadcasts to the area. Television signals are received from the Bilsdale TV transmitter.

 

Local radio stations are BBC Radio Tees, Heart North East, Capital North East, Smooth North East, Greatest Hits Radio Teesside, and Zetland FM, a community based radio station which broadcast from its studios on Newcomen Terrace in the town.

 

The town is served by the local newspapers, East Cleveland Herald & Post which is published by the TeessideLive. The Northern Echo also covers the area.

 

In Coatham is Cleveland Golf Club, the first golf club to be formed in Yorkshire. It was established in 1887 and is a links course. Also in Coatham is Redcar Cricket Club, which play in the NYSD league, and Redcar Running Club.

 

In association football, Redcar Athletic currently compete in the Northern League Division One while Redcar Town play in Northern League Division Two. Redcar Rugby Union Football club play at Mackinlay Park.

 

Redcar Racecourse is one of nine thoroughbred horse racecourses in Yorkshire. There is also a motorcycle speedway racing team, the Redcar Bears racing in the SGB Championship. The race track is at the South Tees Motorsport Park in Southbank Street, South Bank and is unusual in that one bend is more highly banked than the other. The team was formerly captained by 1992 World Champion Gary Havelock and was formerly managed by his father Brian.

 

The town is set to host the 2022 Tour of Britain stage four, UCI Europe Tour cycling race. The town was previously set to host a stage of the Tour de Yorkshire, the event was affected by the COVID-19 pandemic.

 

Notable people

Gertrude Bell, colonial administrator and contemporary of Lawrence of Arabia spent her youthful years at Red Barns House in Coatham,[ which became, for a time, the Red Barns Hotel and a listed building.

The surviving negatives of Redcar photographer Alfred Edward Graham (1882–1945) were acquired by Redcar Urban District Council's Library and Museum Committee and are now held by the Redcar and Cleveland Museum Service.

Rex Hunt, governor of the Falkland Islands during the 1982 invasion by Argentina, attended Coatham School.

The former Secretary of State for Northern Ireland, Mo Mowlam, represented Redcar parliamentary constituency in the House of Commons.

Film and television actors Pip Donaghy June Laverick, and Wendy Hall, and actor/director/producer Robert Porter were all born in Redcar.

Actor and radio actor Felicity Finch, famous for her part in the Archers BBC Radio 4 drama series, playing Ruth Archer, was also born and grew up in Redcar.

Singer David Coverdale, lead singer with Deep Purple and Whitesnake lived in Redcar as a youth and worked in the Gentry clothes shop on Coatham Road.

Chris Norman, founder member and former lead singer of Smokie was born in Redcar.

Pete York, drummer with the Spencer Davis Group and session drummer was born in Redcar.

Paralympian, Baroness Tanni Grey-Thompson, originally from Wales, lived in Redcar for a number of years with her husband and daughter.

2011 and 2016 UCI Downhill World Champion Danny Hart was born in and currently lives in Redcar, he is frequently nicknamed "The Redcar Rocket" by commentators.

David Wheater, Bolton Wanderers and England national football team central defender, grew up and still lives in Redcar.

Snooker player Mike Dunn was born in Middlesbrough but lives in Redcar.[citation needed]

Jordan Jones, Rangers FC and Northern Ireland national football team midfielder was born in Redcar

Hayden Hackney, Middlesbrough F.C. midfielder was born in Redcar

Dylan Cartlidge, singer and multi-instrumentalist grew up in Redcar

 

Film and television

A location from the film Atonement

In 2006, Redcar was used as a location for the film adaptation of the Ian McEwan novel Atonement. The Coatham Hotel, Regent Cinema, a section of Newcomen Terrace and part of the beach were dressed as 1940s Dunkirk. Filming took place across three days in August 2006, with local men playing the soldiers.

 

In 2010, Redcar was featured on the Channel 4 television programme The Secret Millionaire. David Jamilly a humanitarian, philanthropist and self-made millionaire, visited the Redcar community and gave £25,000 to Zoë's Place for a sensory room, £25,000 to Redcar Amateur Boxing Club to start an Olympic fund, and £25,000 to Sid's Place for special counselling.

 

There was a subsequent visit on 14 May to a screening at Redcar's cinema, attended by the mayor and mayoress along with all the charities and people involved. The feature of the documentary involved the closure of the nearby Corus steelworks as well as the charities. On 9 December 2011, Jamilly opened the new Redcar Education Development centre in Park Avenue, Redcar. The centre provides day care for adults with learning difficulties. He also opened the Redcar Primary Care Hospital on 9 December 2011 and the new Sid's Place on 15 December 2011.

 

The town was filmed for the 2018 BBC television documentary The Mighty Redcar. The four-part series followed young people from Redcar and surrounding towns as they completed their studies and looked for work.

 

North Yorkshire is a ceremonial county in the Yorkshire and the Humber and North East regions of England. It borders County Durham to the north, the North Sea to the east, the East Riding of Yorkshire to the south-east, South Yorkshire to the south, West Yorkshire to the south-west, and Cumbria and Lancashire to the west. Northallerton is the county town.

 

The county is the largest in England by land area, at 9,020 km2 (3,480 sq mi), and has a population of 1,158,816. The largest settlements are Middlesbrough (174,700) in the north-east and the city of York (152,841) in the south. Middlesbrough is part of the Teesside built-up area, which extends into County Durham and has a total population of 376,663. The remainder of the county is rural, and the largest towns are Harrogate (73,576) and Scarborough (61,749). For local government purposes the county comprises four unitary authority areas — York, Middlesbrough, Redcar and Cleveland, and North Yorkshire — and part of a fifth, Stockton-on-Tees.

 

The centre of the county contains a wide plain, called the Vale of Mowbray in the north and Vale of York in the south. The North York Moors lie to the east, and south of them the Vale of Pickering is separated from the main plain by the Howardian Hills. The west of the county contains the Yorkshire Dales, an extensive upland area which contains the source of the River Ouse/Ure and many of its tributaries, which together drain most of the county. The Dales also contain the county's highest point, Whernside, at 2,415 feet (736 m).

 

North Yorkshire non-metropolitan and ceremonial county was formed on 1 April 1974 as a result of the Local Government Act 1972. It covered most of the North Riding of Yorkshire, as well as northern parts of the West Riding of Yorkshire, northern and eastern East Riding of Yorkshire and the former county borough of York. Northallerton, as the former county town for the North Riding, became North Yorkshire's county town. In 1993 the county was placed wholly within the Yorkshire and the Humber region.

 

Some areas which were part of the former North Riding were in the county of Cleveland for twenty-two years (from 1974 to 1996) and were placed in the North East region from 1993. On 1 April 1996, these areas (Middlesbrough, Redcar and Cleveland and Stockton borough south of the River Tees) became part of the ceremonial county as separate unitary authorities. These areas remain within the North East England region.

 

Also on 1 April 1996, the City of York non-metropolitan district and parts of the non-metropolitan county (Haxby and nearby rural areas) became the City of York unitary authority.

 

On 1 April 2023, the non-metropolitan county became a unitary authority. This abolished eight councils and extended the powers of the county council to act as a district council.

 

The York and North Yorkshire Combined Authority held its first meeting on 22 January 2024, assumed its powers on 1 February 2024 and the first mayor is to be elected in May 2024.

 

The geology of North Yorkshire is closely reflected in its landscape. Within the county are the North York Moors and most of the Yorkshire Dales, two of eleven areas in England and Wales to be designated national parks. Between the North York Moors in the east and the Pennine Hills. The highest point is Whernside, on the Cumbrian border, at 2,415 feet (736 m). A distinctive hill to the far north east of the county is Roseberry Topping.

 

North Yorkshire contains several major rivers. The River Tees is the most northerly, forming part of the border between North Yorkshire and County Durham in its lower reaches and flowing east through Teesdale before reaching the North Sea near Redcar. The Yorkshire Dales are the source of many of the county's major rivers, including the Aire, Lune, Ribble, Swale, Ure, and Wharfe.[10] The Aire, Swale, and Wharfe are tributaries of the Ure/Ouse, which at 208 km (129 mi) long is the sixth-longest river in the United Kingdom. The river is called the Ure until it meets Ouse Gill beck just below the village of Great Ouseburn, where it becomes the Ouse and flows south before exiting the county near Goole and entering the Humber estuary. The North York Moors are the catchment for a number of rivers: the Leven which flows north into the Tees between Yarm and Ingleby Barwick; the Esk flows east directly into the North Sea at Whitby as well as the Rye (which later becomes the Derwent at Malton) flows south into the River Ouse at Goole.

 

North Yorkshire contains a small section of green belt in the south of the county, which surrounds the neighbouring metropolitan area of Leeds along the North and West Yorkshire borders. It extends to the east to cover small communities such as Huby, Kirkby Overblow, and Follifoot before covering the gap between the towns of Harrogate and Knaresborough, helping to keep those towns separate.

 

The belt adjoins the southernmost part of the Yorkshire Dales National Park, and the Nidderdale AONB. It extends into the western area of Selby district, reaching as far as Tadcaster and Balne. The belt was first drawn up from the 1950s.

 

The city of York has an independent surrounding belt area affording protections to several outlying settlements such as Haxby and Dunnington, and it too extends into the surrounding districts.

 

North Yorkshire has a temperate oceanic climate, like most of the UK. There are large climate variations within the county. The upper Pennines border on a Subarctic climate. The Vale of Mowbray has an almost Semi-arid climate. Overall, with the county being situated in the east, it receives below-average rainfall for the UK. Inside North Yorkshire, the upper Dales of the Pennines are one of the wettest parts of England, where in contrast the driest parts of the Vale of Mowbray are some of the driest areas in the UK.

 

Summer temperatures are above average, at 22 °C. Highs can regularly reach up to 28 °C, with over 30 °C reached in heat waves. Winter temperatures are below average, with average lows of 1 °C. Snow and Fog can be expected depending on location. The North York Moors and Pennines have snow lying for an average of between 45 and 75 days per year. Sunshine is most plentiful on the coast, receiving an average of 1,650 hours a year. It reduces further west in the county, with the Pennines receiving 1,250 hours a year.

 

The county borders multiple counties and districts:

County Durham's County Durham, Darlington, Stockton (north Tees) and Hartlepool;

East Riding of Yorkshire's East Riding of Yorkshire;

South Yorkshire's City of Doncaster;

West Yorkshire's City of Wakefield, City of Leeds and City of Bradford;

Lancashire's City of Lancaster, Ribble Valley and Pendle

Cumbria's Westmorland and Furness.

 

The City of York Council and North Yorkshire Council formed the York and North Yorkshire Combined Authority in February 2024. The elections for the first directly-elected mayor will take place in May 2024. Both North Yorkshire Council and the combined authority are governed from County Hall, Northallerton.

 

The Tees Valley Combined Authority was formed in 2016 by five unitary authorities; Middlesbrough, Redcar and Cleveland Borough both of North Yorkshire, Stockton-on-Tees Borough (Uniquely for England, split between North Yorkshire and County Durham), Hartlepool Borough and Darlington Borough of County Durham.

 

In large areas of North Yorkshire, agriculture is the primary source of employment. Approximately 85% of the county is considered to be "rural or super sparse".

 

Other sectors in 2019 included some manufacturing, the provision of accommodation and meals (primarily for tourists) which accounted for 19 per cent of all jobs. Food manufacturing employed 11 per cent of workers. A few people are involved in forestry and fishing in 2019. The average weekly earnings in 2018 were £531. Some 15% of workers declared themselves as self-employed. One report in late 2020 stated that "North Yorkshire has a relatively healthy and diverse economy which largely mirrors the national picture in terms of productivity and jobs.

 

Mineral extraction and power generation are also sectors of the economy, as is high technology.

 

Tourism is a significant contributor to the economy. A study of visitors between 2013 and 2015 indicated that the Borough of Scarborough, including Filey, Whitby and parts of the North York Moors National Park, received 1.4m trips per year on average. A 2016 report by the National Park, states the park area gets 7.93 million visitors annually, generating £647 million and supporting 10,900 full-time equivalent jobs.

 

The Yorkshire Dales have also attracted many visitors. In 2016, there were 3.8 million visits to the National Park including 0.48 million who stayed at least one night. The parks service estimates that this contributed £252 million to the economy and provided 3,583 full-time equivalent jobs. The wider Yorkshire Dales area received 9.7 million visitors who contributed £644 million to the economy. The North York Moors and Yorkshire Dales are among England's best known destinations.

 

York is a popular tourist destination. A 2014 report, based on 2012 data, stated that York alone receives 6.9 million visitors annually; they contribute £564 million to the economy and support over 19,000 jobs. In the 2017 Condé Nast Traveller survey of readers, York rated 12th among The 15 Best Cities in the UK for visitors. In a 2020 Condé Nast Traveller report, York rated as the sixth best among ten "urban destinations [in the UK] that scored the highest marks when it comes to ... nightlife, restaurants and friendliness".

 

During February 2020 to January 2021, the average property in North Yorkshire county sold for £240,000, up by £8100 over the previous 12 months. By comparison, the average for England and Wales was £314,000. In certain communities of North Yorkshire, however, house prices were higher than average for the county, as of early 2021: Harrogate (average value: £376,195), Knaresborough (£375,625), Tadcaster (£314,278), Leyburn (£309,165) and Ripon (£299,998), for example.

 

This is a chart of trend of regional gross value added for North Yorkshire at current basic prices with figures in millions of British pounds sterling.

 

Unemployment in the county was traditionally low in recent years, but the lockdowns and travel restrictions necessitated by the COVID-19 pandemic had a negative effect on the economy during much of 2020 and into 2021. The UK government said in early February 2021 that it was planning "unprecedented levels of support to help businesses [in the UK] survive the crisis". A report published on 1 March 2021 stated that the unemployment rate in North Yorkshire had "risen to the highest level in nearly 5 years – with under 25s often bearing the worst of job losses".

 

York experienced high unemployment during lockdown periods. One analysis (by the York and North Yorkshire Local Enterprise Partnership) predicted in August 2020 that "as many as 13,835 jobs in York will be lost in the scenario considered most likely, taking the city's unemployment rate to 14.5%". Some critics claimed that part of the problem was caused by "over-reliance on the booming tourism industry at the expense of a long-term economic plan". A report in mid June 2020 stated that unemployment had risen 114 per cent over the previous year because of restrictions imposed as a result of the pandemic.

 

Tourism in the county was expected to increase after the restrictions imposed due the pandemic are relaxed. One reason for the expected increase is the airing of All Creatures Great and Small, a TV series about the vet James Herriot, based on a successful series of books; it was largely filmed within the Yorkshire Dales National Park. The show aired in the UK in September 2020 and in the US in early 2021. One source stated that visits to Yorkshire websites had increased significantly by late September 2020.

 

The East Coast Main Line (ECML) bisects the county stopping at Northallerton,Thirsk and York. Passenger service companies in the area are London North Eastern Railway, Northern Rail, TransPennine Express and Grand Central.

 

LNER and Grand Central operate services to the capital on the ECML, Leeds Branch Line and the Northallerton–Eaglescliffe Line. LNER stop at York, Northallerton and on to County Durham or spur over to the Tees Valley Line for Thornaby and Middlesbrough. The operator also branch before the county for Leeds and run to Harrogate and Skipton. Grand Central stop at York, Thirsk Northallerton and Eaglescliffe then over to the Durham Coast Line in County Durham.

 

Northern operates the remaining lines in the county, including commuter services on the Harrogate Line, Airedale Line and York & Selby Lines, of which the former two are covered by the Metro ticketing area. Remaining branch lines operated by Northern include the Yorkshire Coast Line from Scarborough to Hull, York–Scarborough line via Malton, the Hull to York Line via Selby, the Tees Valley Line from Darlington to Saltburn via Middlesbrough and the Esk Valley Line from Middlesbrough to Whitby. Last but certainly not least, the Settle-Carlisle Line runs through the west of the county, with services again operated by Northern.

 

The county suffered badly under the Beeching cuts of the 1960s. Places such as Richmond, Ripon, Tadcaster, Helmsley, Pickering and the Wensleydale communities lost their passenger services. Notable lines closed were the Scarborough and Whitby Railway, Malton and Driffield Railway and the secondary main line between Northallerton and Harrogate via Ripon.

 

Heritage railways within North Yorkshire include: the North Yorkshire Moors Railway, between Pickering and Grosmont, which opened in 1973; the Derwent Valley Light Railway near York; and the Embsay and Bolton Abbey Steam Railway. The Wensleydale Railway, which started operating in 2003, runs services between Leeming Bar and Redmire along a former freight-only line. The medium-term aim is to operate into Northallerton station on the ECML, once an agreement can be reached with Network Rail. In the longer term, the aim is to reinstate the full line west via Hawes to Garsdale on the Settle-Carlisle line.

 

York railway station is the largest station in the county, with 11 platforms and is a major tourist attraction in its own right. The station is immediately adjacent to the National Railway Museum.

 

The main road through the county is the north–south A1(M), which has gradually been upgraded in sections to motorway status since the early 1990s. The only other motorways within the county are the short A66(M) near Darlington and a small stretch of the M62 motorway close to Eggborough. The other nationally maintained trunk routes are the A168/A19, A64, A66 and A174.

 

Long-distance coach services are operated by National Express and Megabus. Local bus service operators include Arriva Yorkshire, Stagecoach, Harrogate Bus Company, The Keighley Bus Company, Scarborough & District (East Yorkshire), Yorkshire Coastliner, First York and the local Dales & District.

 

There are no major airports in the county itself, but nearby airports include Teesside International (Darlington), Newcastle and Leeds Bradford.

 

The main campus of Teesside University is in Middlesbrough, while York contains the main campuses of the University of York and York St John University. There are also two secondary campuses in the county: CU Scarborough, a campus of Coventry University, and Queen's Campus, Durham University in Thornaby-on-Tees.

 

Colleges

Middlesbrough College's sixth-form

Askham Bryan College of agriculture, Askham Bryan and Middlesbrough

Craven College, Skipton

Middlesbrough College

The Northern School of Art, Middlesbrough

Prior Pursglove College

Redcar & Cleveland College

Scarborough Sixth Form College

Scarborough TEC

Selby College

Stockton Riverside College, Thornaby

York College

 

Places of interest

Ampleforth College

Beningbrough Hall –

Black Sheep Brewery

Bolton Castle –

Brimham Rocks –

Castle Howard and the Howardian Hills –

Catterick Garrison

Cleveland Hills

Drax Power Station

Duncombe Park – stately home

Eden Camp Museum –

Embsay & Bolton Abbey Steam Railway –

Eston Nab

Flamingo Land Theme Park and Zoo –

Helmsley Castle –

Ingleborough Cave – show cave

John Smith's Brewery

Jorvik Viking Centre –

Lightwater Valley –

Lund's Tower

Malham Cove

Middleham Castle –

Mother Shipton's Cave –

National Railway Museum –

North Yorkshire Moors Railway –

Ormesby Hall – Palladian Mansion

Richmond Castle –

Ripley Castle – Stately home and historic village

Riverside Stadium

Samuel Smith's Brewery

Shandy Hall – stately home

Skipton Castle –

Stanwick Iron Age Fortifications –

Studley Royal Park –

Stump Cross Caverns – show cave

Tees Transporter Bridge

Theakston Brewery

Thornborough Henges

Wainman's Pinnacle

Wharram Percy

York Castle Museum –

Yorkshire Air Museum –

The Yorkshire Arboretum

Using the App at WOMAD

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Arts/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.

1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .

1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.

1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .

1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director .

1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag finishes his Directorate .

1932 / Richard Ernst is the new director .

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the Directorate Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as the new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.

1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director .

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as Director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria

1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .

2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.

2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.

2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.

www.mak.at/das_mak/geschichte

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Mike Buckley, senior public information office at the Johns Hopkins University Applied Physics Laboratory, left, and New Horizons encounter mission manager Mark Holdridge of the Johns Hopkins University Applied Physics Laboratory, right, watch a live feed of the Mission Operations Center (MOC) along with guests and New Horizons team members as they wait to receive confirmation from the spacecraft that it has completed the flyby of Ultima Thule, Tuesday, Jan. 1, 2019 at Johns Hopkins University Applied Physics Laboratory (APL) in Laurel, Maryland. Photo Credit: (NASA/Joel Kowsky)

New Horizons Principal Investigator Alan Stern of Southwest Research Institute (SwRI), Boulder, CO. gives a thumbs up during a New Horizons media briefing, Wednesday, July 15, 2015 at the Johns Hopkins University Applied Physics Laboratory (APL), Laurel, Maryland. Photo Credit: (NASA/Bill Ingalls)

Applied tone, contrast, & sharpening adjustments.

 

ISRO/ISSDC/Kevin M. Gill

Unfortunately the actual model got lost in the tribulations of time.

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In August 1962 production of the Taunus P1 came to an end. The car was replaced by the Taunus P4 which retained the “Taunus 12M” name, but applied it to a Ford’s first German built front-wheel drive model, powered by a modern compact V4 engine.

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Ford Taunus P4 - From Wikipedia, the free encyclopedia. Production 1962–1966

Assembly Cologne-Niehl, Germany. Genk, Belgium

Powertrain: Engine 1183 cc V4 cylinder water-cooled

1498 cc V4 cylinder water-cooled

 

The Ford Taunus 12 M was a small family saloon/sedan produced by Ford of Germany between September 1962 and August 1966. The Taunus 12M name had been used for the car’s predecessor and it would apply also to subsequent Ford models which is why the 12M introduced in 1962 is usually identified, in retrospect, as the Ford Taunus P4. It was the fourth newly designed German Ford to be launched after the war and for this reason it was from inception known within the company as Ford Project 4 (P4) or the Ford Taunus P4.

 

More unusually, the car was originally designed not for production in Germany but to be produced in North America and sold as the Ford Cardinal, a home-grown competitor for the Volkswagen. A last minute change of strategy saw the US production plans cancelled, and in 1960 Ford of Germany received a fully developed modern new design which they adapted for German conditions in order to replace their own by now badly outdated Ford Taunus P1.

 

North American design

 

The 1952 Ford Taunus had received a stylish new body, but its engine was little changed from the (originally British designed) unit fitted in 1935 to the Ford Eifel and other underpinnings, including its rear axle and suspension, were little changed from those of the 1939 Ford Taunus G93A. By contrast, the P4, originally designed for large scale manufacture in North America, was technically innovative, featuring a newly developed compact V4 engine which would provide the basis for engines designed and produced by Ford of Germany for twenty years. The Taunus P4 was also a front-wheel drive design at a time when other German auto-makers were still avoiding what was then seen as an unnecessarily complicated lay-out.

 

The decision, taken only after the new model had been prepared for production, not to build the Ford Cardinal in North America was the result of a review of “marketing opportunities” in the US market. In 1960 a prototype was delivered to Ford in Cologne. The form of the model that emerged from the production line at Koln-Niehl two years later would be unchanged. The single all-red rear light cluster was seen as a tell-tale sign of the car’s US provenance at a time when rear-mounted direction indicator lights on European cars still tended to be separate from the other light units or at least to use separate bulbs. The dished steering wheel was another feature not normally found in European designs of the time.

 

The Taunus P4 came to market in September 1962: it enjoyed a reasonably positive reception. It was obviously a modern car. Its North American designers had come up with a car that was far larger and more spacious than the standard set by the Volkswagen which by now dominated the small sedan class in Germany. Unfortunately P4s suffered from numerous different teething troubles, however, suggesting that adaptation of the car to German conditions may have been a somewhat rushed exercise. Over its four-year model life the Taunus 12M was produced at an averaged rate of more than 150,000 per year which made a useful contribution to the sales figures, but did very little to trouble the market dominance in the small car sector of the Volkswagen Beetle which at this time was held back chiefly by shortage of production capacity.

 

The new V4 engine was mounted well to the front of the car, its centre ahead of the front wheels. It incorporated a balance shaft in order to try to compensate for some of the imbalance resulting from the unconventional positioning of the four crank pins in relation to the three bearings for the crankshaft. At this stage commentators nevertheless found the V4 unit “rougher” and noisier than comparable in-line units. The water pump and thermostat were housed in a sealed unit permanently protected by anti-freeze. The fan was thermostatically controlled which was still an unusual feature at this time. An eye catching feature introduced under the bonnet/hood in 1964 was color-coding on the rocker cover according to the engine type. 40 PS (29 kW; 39 hp) engines were coded green, 50 PS (37 kW; 49 hp) blue and 65 PS (48 kW; 64 hp) red. (The 55 PS (40 kW; 54 hp) version was replaced in the same year by the more powerful 65 PS (48 kW; 64 hp) unit.)

 

The modern compact V4 engine placed Ford of Germany in the hitherto unfamiliar position of setting the pace, and the company were able to sell the unit to other smaller European manufacturers. This was the engine that Saab later used for their 96 model after they abandoned their commitment to two-stroke power. Ford’s compact V4 engine also found its way into the unusual Matra 530 sports car.

Power was transferred through a single dry plate clutch to the front wheels. The four-speed manual gear box featured synchromesh on all four ratios, and was controlled by means of a column-mounted lever. The universal joints necessary to combine power transmission with steering and suspension functions involved a combination of engineering and materials technologies which at the time was still regarded as “leading edge” although front-wheel drive applied to lighter cars with s lighter and less powerful engines had become mainstream in Germany over the three previous decades, following the pioneering application of the various technologies involved in Auto Union’s DKW badged small cars.

Along with the innovative front wheel drive, an idiosyncratic feature at the front of the Taunus P4 involved the front suspension arms which were connected to the engine/gearbox block, thereby fulfilling an unconventional supporting function. Above them, the transversely mounted leaf-springs were linked to a cross-member which was attached to the floor pan, and thereby part of the monocoque bodyshell. In Autumn 1964 the various elements were rearranged and it became possible significantly to soften the front suspension: after this it was reported that the level of engine vibration reaching the driver was much reduced. However, these rearrangements also incorporated a weakening of the anti-roll control at the front of the car which now was in danger of leaning excessively when cornering. This effect was countered by the substitution of more firmly set up shock absorbers while two additional support connections were added at the front in order to make the steering and tracking more precisely controllable.

At the end of 1964 disc brakes replaced drums on the front axle. (Ford’s larger sister model, the Ford Taunus P3, had received this same upgrade the previous year.)

The Taunus P4 used a 6 volt electrical system which was by now becoming unusual in Germany, although at this stage the Volkswagen Beetle, too, had not yet migrated to a 12 volt electrical system.

Taunus P4s came as two or four-door saloon/sedans. A three-door station wagon was also offered: this did not use the “Turnier” appellation from the larger 17M station wagon, although the “Turnier” name would later become used by Ford of Germany for all their station wagons. The station wagon also provided the basis for a panel van. In addition Ford offered a factory built two-door coupé which was in effect simply a two-door saloon/sedan with a shortened roof-line and a steeply raked rear window. The coupe provided exactly the same interior space as the two-door saloon/sedan up to the level of the car’s waistline, but head-room for those on the back-seat was severely restricted.

The rear light units each had an all-red cover and contained only two bulbs. One of the bulbs operated as a conventional brake light. The other rear light bulb contained two filaments, one of which came one with the light switch and the second of which flashed when the turn indicator switch was used, so following traffic saw just a single light becoming successively and rhythmically brighter and less bright when the car was about to turn. The effect will have been unremarkable to North American drivers, but triggered comment in Europe. Here, even where single piece rear light units are fitted, rear indicator lights were and are normally included in their own separate part of the overall light cluster units.

The principal changes during the car's four-year production run took place under the skin, and received only muffled publicity since many involved suspension modifications which a slower and more careful development process might have made unnecessary.

A significant change in the light of subsequent developments was the transfer of production from Ford's German plant to a newly opened modern plant at Genk, in Belgian Limburg, an hour to the west of the company's Cologne head office. Initially the P4 was built exclusively at Ford's Cologne plant, but from August 1963 the P4 became Genk's first volume model and by the time the P4 was replaced three years later almost all the cars were being produced there. The Genk plant subsequently became the lead plant and then the sole plant for production of the Ford Sierra before being retooled for the launch of the front wheel drive Mondeo.

During 142 days in 1963 a standard specification Ford Taunus 12M travelled 356,273 kilometers (221,378 mi) round a disused race track at Miramas at an average speed of 106.48 km/h (66.18 mph). The resulting publicity will have been intended to counter the adverse impression created by the P4’s early teething troubles.

The Taunus P4 was replaced in 1966 by the Ford Taunus P6 which followed broadly the same architecture but was slightly larger, and therefore even more spacious than the Volkswagen, Germany’s top selling small car throughout this period.

By the time of its replacement the Taunus P4 had notched up sales of 672,695 during a four-year production run. The sales total was a significant improvement on the sales volumes achieved by its predecessor, but the overall market size was also growing during the early 1960s, and within its class the Ford 12M was pushed into third place on the domestic market by the reappearance in the segment of Opel, reviving with a new model the Opel Kadett which, like the Ford, appeared in 1962. The Kadett was replaced by an improved model after only three years by when the Kadett’s three-year production volume of 649,512 was less than 5% short of the total production achieved by the Ford over four years. (Wikipedia).

Elizabeth Cochrane Seamans, aka Nellie Bly, who applied for a US passport in Vienna, Austria in 1919 in order to return to the USA. In order to obtain ithe PP she needed to obtain an identity document from the Spanish Embassy in Vienna. This is the photo that accompanied the Spanish "Idenitäts Zeugnis."

 

The following is lifted whole from the womenshistory.about.com/od/blynellie/p/Nellie-Bly.htm website because I couldn't figure out how to edit down the bio of this extraordinary woman.

 

"The reporter known as Nellie Bly was born Elizabeth Jane Cochran in Cochran's Mills, Pennsylvania, where her father was a mill owner and county judge. Her mother was from a wealthy Pittsburgh family. "Pink," as she was known in childhood, was the youngest of 13 (or 15, according to other sources) of her father's children from both of his marriages; Pink competed to keep up with her five older brothers.

 

Her father died when she was only six. Her father's money was divided among the children, leaving little for Nellie Bly and her mother to live on. Her mother remarried, but her new husband, John Jackson Ford, was violent and abusive, and in 1878 she filed for divorce. The divorce was final in June of 1879.

 

Nellie Bly briefly attended college at Indiana State Normal School, intending to prepare to be a teacher, but funds ran out in the middle of her first semester there, and she left. She had discovered both a talent and interest in writing, and talked her mother into moving to Pittsburgh to look for work in that field. But she did not find anything, and the family was forced to live in slum conditions.

 

Finding Her First Reporting Job:

With her already-clear experience with the necessity of a woman working, and the difficulty of finding work, she read an article in the Pittsburgh Dispatch called "What Girls Are Good For," which dismissed the qualifications of women workers. She wrote an angry letter to the editor as a response, signing it "Lonely Orphan Girl" -- and the editor thought enough of her writing to offer her an opportunity to write for the paper.

She wrote her first piece for the paper, on the status of working women in Pittsburgh, under the name "Lonely Orphan Girl." When she was writing her second piece, on divorce, either she or her editor (the stories told differ) decided she needed a more appropriate pseudonym, and "Nellie Bly" became her nom de plume. The name was taken from the then-popular Stephen Foster tune, "Nelly Bly."

 

When Nellie Bly wrote human interest pieces exposing the conditions of poverty and discrimination in Pittsburgh, local leaders pressured her editor, George Madden, and he reassigned her to cover fashion and society -- more typical "women's interest" articles. But those didn't hold Nellie Bly's interest.

 

Nellie Bly in Mexico:

Nellie Bly arranged to travel to Mexico as a reporter. She took her mother along as a chaperone, but her mother soon returned, leaving her daughter to travel unchaperoned, unusual for that time, and somewhat scandalous. Nellie Bly wrote about Mexican life, including its food and culture -- but also about its poverty and the corruption of its officials. She was expelled from the country, and returned to Pittsburgh, where she began reporting for the Dispatch again. She published her Mexican writings as a book, Six Months in Mexico, in 1888.

But she was soon bored with that work, and quit, leaving a note for her editor, "I'm off for New York. Look out for me. Bly."

 

Off for New York:

In New York, Nellie Bly found it difficult to find work as a newspaper reporter because she was a woman. She did some freelance writing for the Pittsburgh paper, including an article about her difficulty in finding work as a reporter.

In 1887, Joseph Pulitzer of the New York World hired her, seeing her as fitting in to his campaign to "expose all fraud and sham, fight all public evil and abuses" -- part of the reformist trend in newspapers of that time.

 

Ten Days in a Mad House

For her first story, Nellie Bly had herself committed as insane. Using the name "Nellie Brown," and pretending to be Spanish-speaking, she was first sent to Bellevue and then, on September 25, 1887, admitted to Blackwell's Island Madhouse. After ten days, lawyers from the newspaper were able to get her released as planned.

 

She wrote of her own experience where doctors, with little evidence, pronounced her insane -- and of other women who were probably just as sane as she was, but who didn't speak good English or were thought to be unfaithful. She wrote of the horrible food and living conditions, and the generally poor care.

The articles were published in October, 1887, and were widely reprinted across the country, making her famous. Her writings on her asylum experience were published in 1887 as Ten Days in a Mad House. She proposed a number of reforms -- and, after a grand jury investigation, many of those reforms were adopted.

 

More Investigative Reporting

This was followed with investigations and exposés on sweatshops, baby-buying, jails, and corruption in the legislature. She interviewed Belva Lockwood, the Woman Suffrage Party presidential candidate, and Buffalo Bill, as well as the wives of three presidents (Grant, Garfield and Polk). She wrote about the Oneida Community, an account republished in book form.

 

Around the World

Her most famous stunt, though, was her competition with the fictional "Around the World in 80 Days" trip of Jules Verne's character, Phileas Fogg, an idea proposed by G. W. Turner. She left from New York to sail to Europe on November 14, 1889, taking only two dresses and one bag. Traveling by many means including boat, train, horse and rickshaw, she made it back in 72 days, 6 hours, 11 minutes and 14 seconds. The last leg of the trip, from San Francisco to New York, was via a special train provided by the newspaper.

 

The World published daily reports of her progress, and held a context to guess her return time, with over a million entries. In 1890, she published about her adventure in Nellie Bly's Book: Around the World in Seventy-Two Days. She went on a lecture tour, including a trip to Amiens, France, where she interviewed Jules Verne.

 

The Famous Female Reporter

She was, now, the most famous female reporter of her time. She quit her job, writing serial fiction for three years for another New York publication -- fiction that is far from memorable. In 1893 she returned to the World. She covered the Pullman strike, with her coverage having the unusual distinction of paying attention to the conditions of the strikers' lives. She interviewed Eugene Debs and Emma Goldman.

 

Chicago, Marriage

In 1895, she left New York for a job in Chicago with the Times-Herald. She only worked there for six weeks. She met Brooklyn millionaire and industrialist Robert Seaman, who was 70 to her 31 (she claimed she was 28). In just two weeks, married him. The marriage had a rocky start. His heirs -- and a previous common-law wife or mistress -- were opposed to the match. She went off to cover a women's suffrage convention and interview Susan B. Anthony; Seaman had her followed, but she had the man he hired arrested, and then published an article about being a good husband. She wrote an article in 1896 on why women should fight in the Spanish American War -- and that was the last article she wrote until 1912.

 

Nellie Bly, Businesswoman

Nellie Bly -- now Elizabeth Seaman -- and her husband settled down, and she took an interest in his business. He died in 1904, and she took over the Ironclad Manufacturing Co., which made enameled ironware. She expanded the American Steel Barrel Co. with a barrel that she claimed to have invented, promoting it to increase the success appreciably of her late husband's business interests. She changed the method of payment of workers from piecework to a salary, and even provided recreation centers for them.

 

Unfortunately, a few of the long-term employees were caught cheating the company, and a long legal battle ensued, ending in bankruptcy, and employees sued her. Impoverished, she began writing for the New York Evening Journal. In 1914, to avoid a warrant for obstructing justice, she fled to Vienna, Austria -- just as World War I was breaking out.

 

Vienna

In Vienna, Nellie Bly was able to watch World War I unfolding. She sent a few articles to the Evening Journal. She visited the battlefields, even trying out the trenches, and promoted U.S. aid and involvement to save Austria from "Bolsheviks."

 

Back to New York

In 1919, she returned to New York, where she successfully sued her mother and brother for return of her house and what remained of the business she had inherited from her husband. She returned to the New York Evening Journal, this time writing an advice column. She also worked to help place orphans into adoptive homes, and adopted a child herself at age 57.

Nellie Bly was still writing for the Journal when she died of heart disease and pneumonia in 1922. In a column published the day after she died, famous reporter Arthur Brisbane called her "the best reporter in America.""

Ink applied with kneaded eraser to lined paper

9 X 14 inches

From life /observation

9 minutes

 

In May I attended an international conference at San Francisco's Moscone Center for the statistical computer programming language I use at my day job. They gave us a lovely hardbound spiral notebook at the conference but I mostly take notes digitally so I can search them. So naturally I'm drawing in it instead.

 

It's also turned into a mini self-portrait project - aiming for one ~10 minute ink self-portrait from the mirror every day until the notebook is full, I get bored, or I get too involved in other projects.

 

Application of ink is by some combination of finger, brushes, sticks, chopsticks, dried flower stalks, leaf stems, pencil erasers, q-tips, toothbrushes, glass pen, raw vegetables and anything else I find which holds a little ink when you dip it, in combination with lots of dabbing with rags.

Lieutenant James Grant aboard the Lady Nelson sighted and named Mt Gambier in 1800 after a Lord of the Admiralty. The first white man to traverse the area was Stephen Henty of Portland in 1839 when he sighted the Blue Lake. He returned with cattle and stockmen in 1841. He later claimed that had he known the lake and volcano he had discovered in 1839 was in SA he would have immediately applied for an 1839 Special Survey. But Henty thought he was squatting on land in NSW and he was not an official SA settler so the government ordered him off the land in 1844. Thus the first official white settler of the South East and the Mt Gambier district became Evelyn Sturt, brother to Captain Charles Sturt, who took up an occupational license in March 1844 and a property he named Compton just north of the present city. In April 1844 Governor Grey and a party of assistants including the Assistant Surveyor General Thomas Burr and artist George French Angas explored the South East naming Robe and doing the first surveys. Evelyn Sturt became the first to have an occupational license to squat and the first purchase freehold land near Mt Gambier which he did in 1847- a section of 77 acres when 80 acres was the norm. He left the district in 1854 selling his freehold land to Hastings Cunningham who in 1855 subdivided some of this land thus creating the town of Gambierton. The town lands were adjacent to the site of the first police station selected near what is now Cave Gardens by the government in 1845. A small bush inn also operated at this spot. The first streets were named after early locals such as Evelyn, Compton, Ferrers and Crouch (built the first general store before the town was created) streets etc. The town grew quickly because of the mild climate, fertile soils, plentiful water and the influx of settlers from across the border in what was to become the colony of Victoria. Cunningham himself was a great benefactor and donated land for the first school in 1856. In 1861 the town name was changed by act of parliament to Mt Gambier.

 

Unlike other areas of SA the South East was seen as paradise for pastoralists and the optimistic pastoralists flocked to the area with their flocks in 1845. The large runs locked up the land and prevented farmers from settling in the region except for the fertile lands around Mount Gambier. Here small scale farmers had small properties and grew potatoes, hops, and later had dairy cows as well as growing wheat and oats. Land acts in the early 1870s designed to break up the big runs only partially succeeded in the South East where most station owners bought up their lands freehold. It was after 1905 before the big pastoral estates were really broken up for farmers and closer settlement, except for near Mt Gambier. Apart from Evelyn Sturt the other early white settlers of the South East in 1845 were Alexander Cameron at Penola, John Robertson at Struan, William Macintosh and George Ormerod at Naracoorte, the Austin brothers at Yallum Park (later John Riddoch), the Arthur brothers (nephews of Governor Arthur of Van Diemen’s Land) at Mt Schanck( now Mt Schank) and the Leake brothers at Glencoe. In fact in 1845 nineteen leasehold runs were taken up in the South East with a further thirty runs in 1846 and most had several 80 acres sections of freehold land near the main homestead. Most had got to the South East from Casterton and Portland in Victoria as the swamps near the coast were too difficult to traverse except for the country near Robe. Many of the estates were huge. Evelyn Sturt on the Compton/Mt Gambier run had 85 square miles as well as his freehold land; Robertson had 135 square miles at Struan; George Glen (and William Vansittart) of Mayurra had 110 square miles; the SA Company had 159 square miles on the Benara run; the Leake brothers had 194 square miles on Glencoe; Hunter had 56 square miles on Kalangadoo; Neil Black of Noorat Victoria had 45 square miles on Kongorong run and 101 square miles at Port MacDonnell and the Arthur brothers had a huge run at Mt Schanck. By 1851 almost 5,000 square miles of the South East was occupied by Occupational License and most licenses were converted to 14 year leases in that year. A third of all leasehold land in SA was taken up in the South East because of its higher rainfall and suitability for pastoralism and a third of all sheep in the colony were in the South East. When Hundreds were declared in the South East in the late 1850s and early 1860s pastoralists bought up the land. In one case John Riddoch of Yallum Park owned the entire Hundred of Monbulla. Another pastoralist W. Clarke who had purchased Mt Schancke station from the Arthur brothers in 1861 owned SA land valued at £1.25 million when he died in 1874 and he had 120,000 acres freehold in Victoria, 75,000 acres freehold in SA( Mt Schank) and 50,000 acres freehold in each of NSW and Tasmania! Mt Schanck was changed in Schank in 1917 when German place names in SA were changed as Schank without the second “c” is an old English name!

 

In the 1850s Mt Gambier was a shanty village as the South East was a region of large pastoral estates and little agricultural farming and very low population numbers. It was far from Adelaide and remote and it was only after the Princeland episode in 1862 with the threat of possible secession to a new state that the Adelaide government began to invest in the South East and encourage settlement there. The Border Watch newspaper was established in 1861, the Mt Gambier Hotel opened in 1862 and the Mt Gambier Council was formed in 1863.By the early 1860s Mt Gambier had almost 1,000 residents making it one of the largest towns in SA after the copper mining centres of Burra, Kadina and Moonta. By the 1881 SA census Mt Gambier had 2,500 residents making it the biggest town outside of Adelaide. In 1865 four iconic historic buildings were erected-the Courthouse, the Gaol, Christ Church Anglican and the Post Office and Telegraph Station. The flourmill which later became the Oat Mill opened in 1867 as wheat farmers had now taken up lands around the Mount. Mt Gambier was growing into a fine prosperous looking town with churches, stores, banks, hotels and fine residences. In the 1870s the rural population increased dramatically with tenant potato farmers on Browne’s Moorak estate and intensive hop growing in several localities such as Yahl and OB Flat and Glenburnie etc. Also in 1876 the first commercial forestry was started at the behest of George Goyder. A tree nursery was established on the edge of Leg of Mutton Lake in 1876 on a site selected by George Goyder himself. A stone cottage for the first nurseryman Charles Beale was constructed and it survived until demolished in 1969 but the nursery closed in 1929. The nursery propagated eucalypts, Oak, Elm, Ash, Sycamore, and North American pines. Pinus radiata was first grown at Leg of Mutton Lake and was being dispersed to other areas by 1878. Pinus canariensis was also grown in the 1880s. Pinus radiata is now the most commonly grown commercial forest tree in SA and Australia. Also in the 1870s the first hospital was erected and Dr Wehl, the town’s doctor for many years was in residence.

 

In the mid 1880s the first rail line was laid as the railway lines pushed out from Mt Gambier to Naracoorte. The service to Naracoorte began in 1887 and connected on with the line to Bordertown and Adelaide. By 1897 a railway connected Mt Gambier to Millicent and the port at Beachport. The railway line across the border to Heywood and Melbourne was not completed until 1917 as the SA government resisted a line that would take goods and passengers from Mt Gambier to Port Melbourne rather than to Port Adelaide. Mt Gambier railway station used to be a hive of activity with daily trains to Adelaide and an overnight sleeper services several times a week. Passenger trains to Mt Gambier from Adelaide stopped in 1990 after Australian National took over the SA railway network. Freight services stopped in 1995 and the railway line and station was formally closed. The railyards and other buildings were cleared in 2013.

 

1942 Noorduyn AT-16 Harvard IIB N8994 42-12473 USAAF B-174 Markings Applied 51 NAVY N8994 66 2814 JS

1942 United States Army Air Force with s/n 42-12473

1943 Royal Canadian Air Force with s/n FE986

1946 Royal Netherlands Air Force with s/n B-174

Photo taken at EAA Airventure Wittman Regional Airport Oshkosh Wisconsin USA July 2024

DAG_5593

Fuji XE-1 with Pentax 50mm M f1.7 lens bokeh. Vignette applied.

Antique Baccarat Decanter Circa 1830

In 1953 Chevrolet renamed its series and the Bel Air name was applied to the premium model range. Two lower series, the 150 and 210, also emerged (as successors to the Special and Deluxe series, respectively). The 1953 Chevrolet was advertised as "Entirely new through and through," due to the restyled body panels, front and rear ends. However, essentially these Chevrolets had similar frame and mechanicals to the 1949-52 cars.

 

The 1953-54 Chevrolet range had a unique and somewhat awkward look about it and much of this stemmed from its role as a transitional model to introduce a raft of changes that were necessary to pave the way for the introduction of the 1955-57 range that really established the Bel Air as a cultural icon. The pre-war technology: such as torque tube drive, six-cylinder splash feed engines, knee action suspension, split windshields, etc., of the early models was phased out and the foundations for the first post war modern Chevrolet passenger car were finalized in this 1953-54 model.

 

Of all the Bel Air variants available across the 1953-54 range the two door hardtop and convertible remain the stand outs in terms of style. The Bel Air series featured a wide chrome strip of molding from the rear fender bulge, to the rear bumper. The inside of this stripe was painted a coordinating color with the outside body color, and "Bel Air" scripts were added inside the strip. Lesser models had no model designation anywhere on the car, only having a Chevy crest on the hood and trunk.

 

1953 was the first year for a curved, one-piece windshield. Bel Air interiors had an optional massive expanse of chrome across the lower part of the dashboard (most were painted), along with a deluxe Bel Air steering wheel with full chrome horn ring. Carpeting and full wheel covers rounded out Bel Air standard equipment.

 

For 1954, the Bel Air stayed essentially the same, except for a revised grille and taillights, and a revised engine that had insert bearings and higher oil pressure, needed for the full-flow oil filtration system that was not available prior to 1954. Prior to 1954, the 235 and 216 cubic inch six cylinder engines had babbit bearings and scoops to create oil pressure at the bottom of each rod and the oil pressure was standard at 15-30 PSI. During these years, there were three engine choices, depending on the transmission ordered. Both 235 cubic inch engines were "Blue Flame" inline six cylinder OHV engines, featuring hydraulic valve lifters (in 1953 with automatic transmissions) and aluminum pistons. The 106 hp (79 kW) 235 cubic inch displacement engine was standard on stickshift models, with solid lifters and splash plus pressure lubrication including babbit bearings. Powerglide cars got a 115 hp (86 kW) version which had hydraulic lifters and full pressure lubrication.

 

In 1953 and 1954, Bel Airs could be ordered in convertible, hardtop coupe, two- and four-door sedans, and, for 1954, the Beauville station wagon which featured woodgrain trim around the side windows. Many new options, once available only to more expensive luxury cars, became offered starting in 1953, including power steering and the Guidematic headlight dimmer in 1953; and power brakes, power 2-way front seat and power front windows in 1954. All 1954 models equipped with the standard transmission used the 1953 Powerglide engine.

 

[Text from Wikipedia]

 

en.wikipedia.org/wiki/Chevrolet_Bel_Air

 

This Lego Miniland-scale Chevrolet 1953 Bel Air Hardtop has been created for Flickr LUGNuts' 120th Build Challenge, - 'Happy 10th Anniversary, LUGNuts', - where all the previous challenge themes are open for use in creating builds for the Challenge.

 

The Challenge theme chosen is number 78 - 'Places, Everyone' - for any vehicle named after a place.

In its ten-year history, the Expanded Animation Symposium has continually examined the vast and constantly evolving field of animation and its myriad connections to other disciplines. Along this journey, the symposium has featured prominent and up-and-coming people, projects and perspectives that have significantly shaped the current animation landscape. In addition to becoming a regular part of the Ars Electronica Festival, the symposium itself has also continued to expand, developing from an initial one-day event to a three-day affair that includes multiple tracks, exhibitions, performances and even an additional symposium, Synaesthetic Syntax.

 

Image: Rendering from the third act of the trailer, designed by Isastella Pilzer, Jan Russinger, Josef Ibrahim und Nico Hartl

Fledging Juvenile Buffy Fish Owl (Ketupa ketupu)

 

The buffy fish owl (Bubo ketupu), also known as the Malay fish owl, is a species of owl in the Strigidae family.

 

The four fish owls were previously generally separated in the genus Ketupa. mtDNA cytochrome b sequence data is equivocal on which genus name is applied for them, and today they are commonly lumped with the horned and eagle-owls (Bubo) – which they also resemble osteologically very much – for sake of convenience. Depending on whether some little-studied tropical eagle-owls are closer to the fish-owls than to the typical eagle-owls, Ketupa might be a valid genus if these as well as the fishing owls (formerly Scotopelia) are included in it, although there are a number of osteological differences that suggest that fishing and fish owls are not directly related to each other.

  

Distribution and habitat

 

It is found from southern Burma and central India to the south and east to Cambodia, Laos and Vietnam, peninsular Thailand, the Malay Peninsula, the Riau Archipelago, Sumatra Brunei, Cocos (Keeling) Islands, Indonesia down to Java, Bali and Borneo. One specimen was recorded at Cocos (Keeling) Island off Australia, 1,050 km (650 mi) outside its regular range. Its natural habitat is wet tropical forests and other woody areas near water, including wooded banks of rivers, lakes and fish ponds and rich paddies. It can survive well close to human habitations but can also be found in desolate mangrove forests and other less-inhabited or uninhabited areas. It mainly lives in lowlands but can be found at up an elevation of 1,600 m (5,200 ft).

  

Description

 

The buffy fish owl is a fairly large owl but is the smallest of the four species of fish owl. In total length, this species can range from 38 to 48 cm (15 to 19 in). Body mass can range from 1,028 to 2,100 g (2.266 to 4.630 lb), with an average weight of 1,224 g (2.698 lb). This species is yellowish-brown overall, with considerable variegating with pale buff. The feathers are edged tawny and the wings and tail are broadly barred yellowish and dark brown. The wings are distinctly rounded in shape when this species is seen in flight. The underparts are a yellow-brown, rich buff or fulvous color with broad blackish shaft-stripes. The legs are long and unfeathered. This species slightly overlaps in range with the brown fish owl, but that species is slightly larger and coniserably more brown in overall color with stronger barring and vermiculations below. The tawny fish owl may also marginally overlap with the buffy fish owl in range and is also larger with a much richer tawny color with a more barred tail, a whiter face and about two-thirds of its tarsi feathered. Like all fish owls, the buffy fish owl has prominent ear tufts but they hang to the sides of the head rather than sit atop and are scraggly looking. This species has been attributed with a range of vocalizations. Among these recorded have included hissing sounds and a rattling kutook, repeatedly rapidly about seven times. Also recorded has been a ringing, loud pof-pof-pof and a high, hawk-like hie-e-e-e-e-keek series of notes. The buffy fish owl is rather noisy before breeding and pairs may engage in bouts of duetting for several minutes at a time.

 

Compared to eagle owls of similar length, fish owls tend to be even shorter in tail length and even heavier in build, have relatively larger wings (the tawny and Blakiston's being particularly chunky in shape), have considerably longer legs, and have a rough texture to the bottom of their toes. At least the latter two features are clear adaptations to aid these owls in capturing fish. Diurnal raptors who feed largely on fish have similar, if not identical, rough texture under their toes, which helps these birds grasp slippery fish. Unlike diurnal raptors who capture fish such as the osprey (Pandion haliaetus) as compared to most terrestrial raptors, the fish owls have large, powerful, and curved talons and a longitudinal sharp keel sitting under the middle claw with all having sharp cutting edges that are very much like those of eagle owls. Also, unlike fish-eating diurnal raptors will not submerge any part of their body while hunting, preferring only to put their feet into the water, although fish owls will hunt on foot, wading into the shallows. Unlike most owls, the feathers of fish owls are not soft to the touch and they lack the comb and hair-like fringes to the primaries, which allow other owls to fly silently in order to ambush their prey. Due to the lack of these feather-specializations, fish owl wing beats make sounds. The lack of a deep facial disc in fish owls is another indication of the unimportance of sound relative to vision in these owls, as facial disc depth (as well as inner ear size) are directly related to how important sound is to an owl's hunting behavior. Also different from most any other kind of owl, the bill is placed on the face between the eyes rather below it, which is said to impart this fish owl with a "remarkably morose and sinister expression". Similar adaptations, such as unwillingness to submerge beyond their legs and lack of sound-muffling feathers are also seen in the African fishing owls, which do not seem to be directly related. Due to their neat replacement of each other in range, at one time the tawny and buffy fish owls were considered the same species but there are a number of physical, anatomical, habitat and behavioral distinctions between them.

  

Ecology and behavior

 

During the daytime, these owls shelter, often singly, in quite dark places, such as densely foliaged trees. Buffy fish owls are easily disturbed, quite the opposite of the highly stoic tawny fish owl, often being wide-awake before being spotted by a human observer. The largest part of its diet appears to consist of fish, crabs and frogs followed by reptiles, toads and crayfish. Their diet is not extensively studied but appears to be basically the same as those of the brown and tawny fish owls. Rats, mice and large insects are also sometimes taken and even bats have been captured by this species. A small handful of prey has been identified to genera or species in Java: goldfish (Carassius auratus), the gold-ringed cat snake (Boiga dendrophila), puff-faced water snake (Homalopsis buccata), young false gharials (Tomistoma schlegelii), fruit bats (Cynopterus ssp.), centipedes (Scolopendra ssp.), black rats (Rattus rattus) and red junglefowl (Gallus gallus bankiva), some of this prey such as the cat snake and junglefowl being of a fairly large size. Like the brown fish owl but unlike most owls, this species has been recorded consuming carrion, including the remains of a crocodile and a Sunda stink badger (Mydaus javanensis). The buffy fish owl does not produce firm pellets as do most owls. Instead bones and frog and insect remains are ejected in pieces and fall to the ground below roost. Prey remains have only been found within the nest, never around or below the nest as is commonly recorded in other owls. The buffy fish owl hunts mainly from the bank, swooping down much in the manner of a fish eagle but never getting its feathers wet. It also walks into shawllow streams and brooks, additionally snatching their main foods in such locations.

 

Eggs have mainly been found in February through April, less commonly into May through July, as in western Java, and even in September through January in the Malay Peninsula. The buffy fish owl frequently nest on top of a large fern (Asplenium nidus), but nests have also been recorded in the fork a tall bough covered in ferns and moss, on orchid beds and in tree holes. More rarely, rocky sites have been used as nesting sites, even behind waterfalls. The nest is usually merely a scrap into the surface of a fern with no structure or lining, as owls do not build nests. Abandoned bird nests built by other species have been used, including those of Brahminy kites (Haliastur indus). Only one egg has ever been recorded in a buffy fish owl nest, giving them the smallest clutch size of any owl alongside the spot-bellied eagle owl (B. nipalensis), which has only ever been recorded with a single-egg clutch. The egg is round, oval and dull white. The average dimensions of eggs in western Java was 57.4 mm × 47 mm (2.26 in × 1.85 in). Incubation of the eggs lasts 28-29 days and fledgling occurs after six weeks. This species is generally faring well for a large raptorial bird and has been inadvertently aided by commercial fisheries and ornamental ponds, which they visit by night to hunt. Sometimes, they incure persecution from owners of such ponds for taking stock.

  

[credit: en.wikipedia.org/";]

@ Museum of Applied Arts, Budapest