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Today was Martin Luther King jr. Day and public offices were closed and the LBJ Library was free. So, I took my meetup group there and we toured the place. It's a massive building with lots of memorable things inside. Kinda like taking a walk back in time. Here's more info on LBJ
ohnson was strongly supported by the Democratic Party, and as President designed the "Great Society" legislation upholding civil rights, public broadcasting, Medicare, Medicaid, aid to education, the arts, urban and rural development, public services, and his "War on Poverty". Assisted in part by a growing economy, the War on Poverty helped millions of Americans rise above the poverty line during Johnson's presidency.[2] Civil rights bills signed by Johnson banned racial discrimination in public facilities, interstate commerce, the workplace, and housing; and the Voting Rights Act banned certain requirements in southern states used to disenfranchise African Americans. With the passage of the Immigration and Nationality Act of 1965, the country's immigration system was reformed and all national origin quotas were removed. Johnson was renowned for his domineering, sometimes abrasive, personality and the "Johnson treatment"—his aggressive coercion of powerful politicians to advance legislation.
This statue of migrant family is found on the Freemantle Wharf. Many ships coming from Europe had Fremantle as their first stop before continuing on to the eastern states.
Given how the British and Europeans arrived here I do find it ironic that some want to ban all further migration, particularly of certain peoples. As Australia is not reproducing at replacement rate we do need to have a reasonable migration strategy, but not be swamped by the untold millions in the world that would like a safe home, work and place to raise their children.
Since coming back from WA I have tested positive for Covid and spent all day in bed. This is the second time I have got Covid and it seems worse than the last time, which is annoying! HSS
© Leanne Boulton, All Rights Reserved
Street and reportage photography from Glasgow, Scotland.
Colour re-edit of a shot from June 2016.
Captured during a conflict in George Square between a far right white supremacist protest and an anti-fascist pro-immigration counter-protest. The atmosphere was 'tense' to put it mildly.
Immigration is not the problem.
If you think that your country is suffering because of immigration, that there are no jobs, that public services are starved of money, that housing is in crisis, and there are politicians screaming that immigration is to blame - then immigration is not the problem. Misappropriation of public finances is the problem. Immigrants are the scapegoat.
They are not immigrants unless proven to be so either and the overwhelming majority on those 'small boats' actually qualify for asylum as genuine refugees.
So refugees are the problem?
Just remember this, if you only take one thing away from my words here:
We are all just one catastrophe away from needing to seek asylum as a refugee.
In an increasingly unstable world with the coming climate change crisis, food and water security crisis and the beating of war drums around the world, don't think that your need to seek asylum is a distant impossibility. It can happen to any of us.
In a world where you can be anything. Be kind. Care. Take care of others in need if you are in a position to do so. Walk a mile in somebody else's shoes.
Our whole world is built upon the movement of people.
Fight hate with love. Kill it with kindness.
My trip to Las Vegas during this #COVID19 #pandemic
...
Immigration Officer: Why are you here?
Me: I'm an immigrant...this is my mother's last wish- to experience working & living in the USA.
Nash, nativo di Blackpool nel Lancashire inglese, scrisse questa canzone quando, non avendo all’epoca ancora la doppia nazionalità, fu fermato dagli agenti dell’immigrazione al suo ingresso negli USA. Non volevano farlo entrare e lo tennero in attesa per un bel po’ finchè alcuni fans lo riconobbero e cominciarono ad assieparsi per aver un autografo. Solo allora le guardie si decisero a concerdergli il visto d’ingresso.
Fu per Nash un’esperienza molto irritante ed umiliante.
Figuriamoci se non sei Graham Nash, se non sei nessuno, anzi, un disperato, affamato, sporco e per giunta africano che cerca di passare la frontiera con la Francia a Ventimiglia, o su un treno del Sempione per raggiungere la Svizzera, o fermato al Brennero cercando di raggiungere l’Austria o la Germania...
Ma che Europa è questa, che taglieggia ed affama la sua stessa gente (vedi Grecia) e chiude le frontiere rifiutando la dovuta accoglienza a profughi che fuggono da guerre e carestie?
Nash, a native of Blackpool in English Lancashire, wrote this song when, not having the dual nationality at the time, he was stopped by immigration agents as he entered the US. They didn't want to let him in and kept him waiting for quite a while until some fans recognized him and began to gather for an autograph. Only then did the guards decide to grant him an entry visa. It was a very irritating and humiliating experience for Nash. Imagine if you are not Graham Nash, if you are no one, on the contrary, a desperate, hungry, dirty and moreover African who tries to cross the border with France in Ventimiglia, or on a Simplon train to reach Switzerland, or stopped at Brenner trying to reach Austria or Germany ... But what kind of Europe is this, which cuts and starves its own people (see Greece) and closes its borders by refusing to accept refugees fleeing war and famine?
A white building overlooks the immigration station at Angel Island, in the San Francisco Bay. 211014
Yungaba Immigration Centre is a heritage-listed former immigration hostel at 102 Main Street, Kangaroo Point, City of Brisbane, Queensland, Australia, alongside the Brisbane River. It was designed by John James Clark and built c. 1885 by William Peter Clark. It is also known as Yungaba Immigration Depot, Immigration Barracks, and No.6 Australian General Hospital. It was added to the Queensland Heritage Register on 21 October 1992.
Yungaba House has now been converted for upmarket living. It sits just below the western end of the Story Bridge seen in my recent shot of the city of Brisbane. You can see the safety fence on the bridge above the roof of the centre. The building extends out of shot on the left, it's quite large. The city, on the other side of the river can be seen in the rear.
For those interested, this rather long Wiki article will take you through the lot.
Sometimes I think...we left the sun behind...immigrated...to have these little funny reflections of moonlight on dark dead stones...
sorry....rarely...
Wikipedia: Macau (Chinese: 澳門), also spelled Macao (pron.: /məˈkaʊ/), is one of the two special administrative regions of the People's Republic of China (PRC), the other being Hong Kong. Macau lies on the western side of the Pearl River Delta across from Hong Kong to the east, bordered by Guangdong province to the north and facing the South China Sea to the east and south. The territory's economy is heavily dependent on gambling and tourism, but also includes manufacturing. A former Portuguese colony, Macau was administered by Portugal from the mid-16th century until 1999, when it was the last remaining European colony in China. Portuguese traders first settled in Macau in the 1550s. In 1557, Macau was rented to Portugal by the Chinese empire as a trading port. The Portuguese administered the city under Chinese authority and sovereignty until 1887, when Macau became a colony of the Portuguese empire. Sovereignty over Macau was transferred back to China on 20 December 1999. The Sino-Portuguese Joint Declaration and the Basic Law of Macau stipulate that Macau operate with a high degree of autonomy until at least 2049, fifty years after the transfer. Under the policy of "one country, two systems", the PRC's Central People's Government is responsible for the territory's defense and foreign affairs, while Macau maintains its own legal system, police force, monetary system, customs policy, and immigration policy. Macau participates in many international organizations and events that do not require members to possess national sovereignty. According to The World Factbook, Macau has the second highest life expectancy in the world. In addition, Macau is one of the very few regions in Asia with a "very high Human Development Index", ranking 23rd or 24th in the world in 2007 (with Japan being the highest in Asia; the other Asian countries/regions within the "very high HDI" category are Taiwan, Hong Kong, Brunei, Qatar, Singapore, and South Korea).
Daytona Beach is a city in Volusia County, Florida, United States. It lies approximately 51 miles (82.1 km) northeast of Orlando, 86 miles (138.4 km) southeast of Jacksonville, and 265 miles (426.5 km) northwest of Miami. As of the 2010 U.S. Census, it had a population of 61,005. It is a principal city of the Deltona–Daytona Beach–Ormond Beach metropolitan area, which was home to 600,756 people as of 2013. Daytona Beach is also a principal city of the Fun Coast region of Florida.
The city is historically known for its beach, where the hard-packed sand allows motorized vehicles to drive on the beach in restricted areas. This hard-packed sand made Daytona Beach a mecca for motorsports, and the old Daytona Beach Road Course hosted races for over 50 years. This was replaced in 1959 by Daytona International Speedway. The city is also the headquarters for NASCAR.
Daytona Beach hosts large groups of out-of-towners during the year, who visit the city for various events, notably Speedweeks in early February when over 200,000 NASCAR fans come to attend the season-opening Daytona 500. Other events include the NASCAR Coke Zero Sugar 400 race in August, Bike Week in early March, Biketoberfest in late October, and the 24 Hours of Daytona endurance race in January.
The area where Daytona Beach is located was once inhabited by the indigenous Timucuan Indians who lived in fortified villages. The Timucuas were nearly exterminated by contact with Europeans through war, enslavement and disease and became extinct as a racial entity through assimilation and attrition during the 18th century. The Seminole Indians, descendants of Creek Indians from Georgia and Alabama, frequented the area prior to the Second Seminole War.
During the era of British rule of Florida between 1763 and 1783, the King's Road passed through present-day Daytona Beach. The road extended from Saint Augustine, the capital of East Florida, to Andrew Turnbull's experimental colony in New Smyrna. In 1804 Samuel Williams received a land grant of 3,000 acres (12 km2) from the Spanish Crown, which had regained Florida from the British after the American Revolution. This land grant encompassed the area that would become Daytona Beach. Williams built a slave-labor-based plantation to grow cotton, rice and sugar cane. His son Samuel Hill Williams would abandon the plantation during the Second Seminole War, when the Seminoles burned it to the ground.
The area now known as the Daytona Beach Historical District was once the Orange Grove Plantation, a citrus and sugar cane plantation granted to Samuel Williams in 1787. The plantation was situated on the west bank of the tidal channel known as the Halifax River, 12 miles north of Mosquito Inlet. Williams was a British loyalist from North Carolina who fled to the Bahamas with his family until the Spanish reopened Florida to non-Spanish immigration. After his death in 1810, the plantation was run by his family until it was burned down in 1835. In 1871, Mathias Day Jr. of Mansfield, Ohio, purchased the 3,200-acre tract of the former Orange Grove Plantation. He built a hotel around which the initial section of town arose. In 1872, due to financial troubles, Day lost title to his land; nonetheless, residents decided to name the city Daytona in his honor, and incorporated the town in 1876.
In 1886, the St. Johns & Halifax River Railway arrived in Daytona. The line would be purchased in 1889 by Henry M. Flagler, who made it part of his Florida East Coast Railway. The separate towns of Daytona, Daytona Beach, Kingston, and Seabreeze merged as "Daytona Beach" in 1926, at the urging of civic leader J.B. Kahn and others. By the 1920s, it was dubbed "The World's Most Famous Beach".
Daytona's wide beach of smooth, compacted sand attracted automobile and motorcycle races beginning in 1902, as pioneers in the industry tested their inventions. It hosted land speed record attempts beginning in 1904, when William K. Vanderbilt set an unofficial record of 92.307 mph (148.554 km/h). Land speed racers from Barney Oldfield to Henry Segrave to Malcolm Campbell would visit Daytona repeatedly and make the 23 mi (37 km) beach course famous. Record attempts, including numerous fatal endeavors such as Frank Lockhart (Stutz Black Hawk, 1928) and Lee Bible (Triplex Special, 1929), would continue until Campbell's March 7, 1935 effort, which set the record at 276.816 mph (445.492 km/h) and marked the end of Daytona's land speed racing days.
On March 8, 1936, the first stock car race was held on the Daytona Beach Road Course, located in the present-day Town of Ponce Inlet. In 1958, William France Sr. and NASCAR created the Daytona International Speedway to replace the beach course. Automobiles are still permitted on most areas of the beach, at a maximum speed of 10 mph (16 km/h).
Credit for the data above is given to the following website:
en.wikipedia.org/wiki/Daytona_Beach,_Florida
© All Rights Reserved - you may not use this image in any form without my prior permission.
October 9, 2020: Abolish ICE, US Immigration Policy is a Crime, Close the Camps. Rise and Resist on the Manhattan Bridge
Ellis Island is the former U.S. immigration inspection station and gateway for over 12 million immigrants from 1892 until 1954. Now a museum it is situated in New York Harbor within the states of New York and New Jersey. Print Size 13x19 inches.
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
On July 15th, 1806, part of the Lewis and Clark expedition led by Sacajawea traveled along an old buffalo trail through this pass of the Gallatin Range, a spur of the Rockies. In the mid 1860’s, John Bozeman led settlers through the pass on what became known as the Bozeman trail. Three years of white settlers moving west through this pass came to an abrupt stop by the Sioux and Cheyenne Indians who wanted to stop the immigration of new settlers into the area. Almost twenty years later, the Northern Pacific Railway finished their route through Bozeman Pass in 1883 which paralleled the Bozeman Trail.
To continue west from Livingston, Montana, the Northern Pacific Railway needed to get over the Gallatin Range, a fifty-five hundred foot barrier. One of two crossings they needed to cross the Rocky Mountains, the other being Mullan Pass. The climb up Bozeman Pass was 996 feet to the tunnel portal that bored 3,610 through to the western side of the summit crossing. They were able to keep the grades under 2.2%. Later, the Northern Pacific created a continuous grade and climb that ran the 12.2 miles between Livingston to Muir, the eastern portal of Bozeman Tunnel. The western side of the pass was much more rugged with a six hundred foot drop in elevation in roughly six miles but then flattened out into the Gallatin Valley. Two other routes were surveyed but Bozeman Pass was favored. One would have come down the Missouri Valley via the pass at Sixteen-Mile Creek. Even though this route wouldn’t require a tunnel, it had two summits to crest and was 40 miles longer. The other one would have crossed the divide at the Bull Mountains and ran to Helena by way of the Gates of the Mountains.
A new shorter tunnel was constructed at the summit alongside the old one with a slightly lower summit crossing in 1945. On March 2, 1970, four railroads, (Great Northern Railway, Northern Pacific Railway, Spokane, Portland and Seattle Railway and the Chicago, Burlington and Quincy Railroad) were merged together to form the Burlington Northern Railroad. The Northern Pacific’s route across the Rockies was 2nd to James Hill’s Great Northern Route across northern Montana. Hill’s route only had to cross the Rocky Mountain Range once (Marias Pass) at a lower elevation and better grades, so the route was spun off to Montana Rail Link in 1987.
BNSF still maintains trackage rights over its former NP line, seen here as a Montana Rail Link helper set out of Livingston, help muscle this grain train up the eastern side of Bozeman Pass before first light.
The mother migrated across all of Mexico to cross into California. At the border crossing the coyote abandons the group and the mother with her 3 kids are captured. ICE separates the children and arrests the mother. After the kids disappear into the CPS system, the mother loses all track of her children. This is today's dream of immigration under Donald Trump.
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Art of the Real