Graffiti is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

Cimetière de la Ville de Nérac

 

Le seul entretien qui semble être fait ici, c'est un fauchage épisodique au rotofil.

Et je me suis laissé dire par des autochtones en visite sur la tombe de leur famille que du fait de cet "entretien" de nombreux graviers sont projetés sur les tombes et cassent des ornementations en porcelaine ou terre cuite ou tout simplement les encombrent, nuisant à l'esthétique des tombes entretenues par les familles!

Ces dernières sont obligées de nettoyer après le passage des nettoyeurs! Encore de l'argent public gaspillé et qui parfois génère même des dépenses supplémentaires pour les usagers!

June 1, 2010 - Kearney Nebraska, US

 

Storms lingering from the night before were still causing some severe weather in and around our area in South Central Nebraska that early June morning. Nothing severe in Kearney though... it was off to the west of Grand Island and it only prompted a severe weather warning for about 45 mins as it moved east and out of the area.

 

SPC had us pegged that day for severe weather to erupt that early afternoon. Though when the action did begin, it was to southeast of us. Mostly the Red Cloud to Superior areas and to the east. At this time it was out of my range due to the unworthiness of my vehicle to get me there and back.

 

So I had no choice to stay local and the storms didn't fire any where close to use. We did have storms but just not severe.

 

*** Please NOTE and RESPECT the Copyright ***

 

Copyright 2010

Dale Kaminski @ NebraskaSC Photography

All Rights Reserved

 

This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.

 

#ForeverChasing

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illustration for a calendar

I have so much respect for this guy, getting out there and earning the pennies to keep the wolf from the door.

www.311RS.com

 

This is the 311RS Porsche program in a nutshell.

 

Photo: Larry Chen

Traditional respect!!!!!

Processed with VSCOcam with q3 preset and Snapseed

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

  

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Photograph taken at an altitude of Fifty metres at 11:51am on a beautiful springtime morning on Saturday 16th April 2022, off Chessington Avenue in Bexleyheath, Kent.

  

Here we see a Male and Female Carrion crow (Corvus corone), a passerine bird of the family Corvidae and the genus Raven (Higher classification: Corvus), which is native to western Europe and eastern Asia. It can grow to twenty inches in length with a wingspan of up to thirty nine inches. In the distance are the contrails of two passing aeroplanes.

  

AN IN DEPTH LOOK AT CORVUS CORONE

  

LEGEND AND MYTHOLOGY

By Paul Williams

  

Crows appear in the Bible where Noah uses one to search for dry land and to check on the recession of the flood. Crows supposedly saved the prophet, Elijah, from famine and are an Inuit deity. Legend has it that England and its monarchy will end when there are no more crows in the Tower of London. And some believe that the crows went to the Tower attracted by the regular corpses following executions with written accounts of their presence at the executions of Anne Boleyn and Jane Gray.

  

In Welsh mythology, unfortunately Crows are seen as symbolic of evilness and black magic thanks to many references to witches transforming into crows or ravens and escaping. Indian legend tells of Kakabhusandi, a crow who sits on the branches of a wish-fulfilling tree called Kalpataru and a crow in Ramayana where Lord Rama blessed the crow with the power to foresee future events and communicate with the souls.

  

In Native American first nation legend the crow is sometimes considered to be something of a trickster, though they are also viewed positively by some tribes as messengers between this world and the next where they carry messages from the living to those deceased, and even carry healing medicines between both worlds. There is a belief that crows can foresee the future. The Klamath tribe in Oregon believe that when we die, we fly up to heaven as a crow. The Crow can also signify wisdom to some tribes who believe crows had the power to talk and were therefore considered to be one of the wisest of birds. Tribes with Crow Clans include the Chippewa (whose Crow Clan and its totem are called Aandeg), the Hopi (whose Crow Clan is called Angwusngyam or Ungwish-wungwa), the Menominee, the Caddo, the Tlingit, and the Pueblo tribes of New Mexico.

  

The crow features in the Nanissáanah (Ghost dance), popularized by Jerome Crow Dog, a Brulé Lakota sub-chief and warrior born at Horse Stealing Creek in Montana Territory in 1833, the crow symbolizing wisdom and the past, when the crow had became a guide and acted as a pathfinder during hunting. The Ghost dance movement was originally created in 1870 by Wodziwob, or Gray Hair, a prophet and medicine man of the Paiute tribe in an area that became known as Nevada. Ghost dancers wore crow and eagle feathers in their clothes and hair, and the fact that the Crow could talk placed it as one of the sages of the animal kingdom. The five day dances seeking trance,prophecy and exhortations would eventually play a major part in the pathway towards the white man's broken treaties, the infamous battle at Wounded knee and the surrender of Matȟó Wanáȟtaka (Kicking Bear), after officials began to fear the ghost dancers and rituals which seemed to occur prior to battle.

  

Historically the Vikings are the group who made so many references to the crow, and Ragnarr Loðbrók and his sons used this species in his banner as well as appearances in many flags and coats of arms. Also, it had some kind of association with Odin, one of their main deities. Norse legend tells us that Odin is accompanied by two crows. Hugin, who symbolizes thought, and Munin, who represents a memory. These two crows were sent out each dawn to fly the entire world, returning at breakfast where they informed the Lord of the Nordic gods of everything that went on in their kingdoms. Odin was also referred to as Rafnagud (raven-god). The raven appears in almost every skaldic poem describing warfare.Coins dating back to 940's minted by Olaf Cuaran depict the Viking war standard, the Raven and Viking war banners (Gonfalon) depicted the bird also.

  

In Scandinavian legends, crows are a representative of the Goddess of Death, known as Valkyrie (from old Norse 'Valkyrja'), one of the group of maidens who served the Norse deity Odin, visiting battlefields and sending him the souls of the slain worthy of a place in Valhalla. Odin ( also called Wodan, Woden, or Wotan), preferred that heroes be killed in battle and that the most valiant of souls be taken to Valhöll, the hall of slain warriors. It is the crow that provides the Valkyries with important information on who should go. In Hindu ceremonies that are associated to ancestors, the crow has an important place in Vedic rituals. They are seen as messengers of death in Indian culture too.

  

In Germanic legend, Crows are seen as psychonomes, meaning the act of guiding spirits to their final destination, and that the feathers of a crow could cure a victim who had been cursed. And yet, a lone black crow could symbolize impending death, whilst a group symbolizes a lucky omen! Vikings also saw good omens in the crow and would leave offerings of meat as a token.

  

The crow also has sacred and prophetic meaning within the Celtic civilization, where it stood for flesh ripped off due to combat and Morrighan, the warrior goddess, often appears in Celtic mythology as a raven or crow, or else is found to be in the company of the birds. Crow is sacred to Lugdnum, the Celtic god of creation who gave his name to the city of Lug

  

In Greek mythology according to Appolodorus, Apollo is supposedly responsible for the black feathers of the crow, turning them forever black from their pristine white original plumage as a punishment after they brought news that Κορωνις (Coronis) a princess of the Thessalian kingdom of Phlegyantis, Apollo's pregnant lover had left him to marry a mortal, Ischys. In one legend, Apollo burned the crows feathers and then burned Coronis to death, in another Coronis herself was turned into a black crow, and another that she was slain by the arrows of Αρτεμις (Artemis - twin to Apollo). Koronis was later set amongst the stars as the constellation Corvus ("the Crow"). Her name means "Curved One" from the Greek word korônis or "Crow" from the word korônê.A similar Muslim legend allegedly tells of Muhammad, founder of Islam and the last prophet sent by God to Earth, who's secret location was given away by a white crow to his seekers, as he hid in caves. The crow shouted 'Ghar Ghar' (Cave, cave) and thus as punishment, Muhammad turned the crow black and cursed it for eternity to utter only one phrase, 'Ghar, ghar). Native Indian legend where the once rainbow coloured crows became forever black after shedding their colourful plumage over the other animals of the world.

  

In China the Crow is represented in art as a three legged bird on a solar disk, being a creature that helps the sun in its journey. In Japan there are myths of Crow Tengu who were priests who became vain, and turned into this spirit to serve as messengers until they learn the lesson of humility as well as a great Crow who takes part in Shinto creation stories.

  

In animal spirit guides there are general perceptions of what sightings of numbers of crows actually mean:

  

1 Crow Meaning: To carry a message from your near one who died recently.

 

2 Crows Meaning: Two crows sitting near your home signifies some good news is on your way.

 

3 Crows Meaning: An upcoming wedding in your family.

 

4 Crows Meaning: Symbolizes wealth and prosperity.

 

5 Crows Meaning: Diseases or pain.

 

6 Crows Meaning: A theft in your house!

 

7 Crows Meaning: Denotes travel or moving from your house.

 

8 Crows Meaning: Sorrowful events

  

Crows are generally seen as the symbolism when alive for doom bringing, misfortune and bad omens, and yet a dead crow symbolises potentially bringing good news and positive change to those who see it. This wonderful bird certainly gets a mixed bag of contradictory mythology and legend over the centuries and in modern days is often seen as a bit of a nuisance, attacking and killing the babies of other birds such as Starlings, Pigeons and House Sparrows as well as plucking the eyes out of lambs in the field, being loud and noisy and violently attacking poor victims in a 'crow court'....

  

There is even a classic horror film called 'THE CROW' released in 1994 by Miramax Films, directed by Alex Proyas and starring Brandon Lee in his final film appearance as Eric Draven, who is revived by a Crow tapping on his gravestone a year after he and his fiancée are murdered in Detroit by a street gang. The crow becomes his guide as he sets out to avenge the murders. The only son of martial arts expert Bruce Lee, Brandon lee suffered fatal injuries on the set of the film when the crew failed to remove the primer from a cartridge that hit Lee in the abdomen with the same force as a normal bullet. Lee died that day, March 31st 1993 aged 28.

  

The symbolism of the Crow resurrecting the dead star and accompanying him on his quest for revenge was powerful, and in some part based on the history of the carrion crow itself and the original film grossed more than $94 Million dollars with three subsequent sequels following.

  

TAKING A CLOSER LOOK

  

So let's move away from legend, mythology and stories passed down from our parents and grandparents and look at these amazing birds in isolation.

  

Carrion crow are passerines in the family Corvidae a group of Oscine passerine birds including Crows, Ravens, Rooks, Jackdaws, Jays, Magpies, Treepies, Choughs and Nutcrackers. Technically they are classed as Corvids, and the largest of passerine birds. Carrion crows are medium to large in size with rictal bristles and a single moult per year (most passerines moult twice). Carrion crow was one of the many species originally described by Swedish naturalist Carl Linnaeus (Carl Von Linne after his ennoblement) in his 1758 and 1759 editions of 'SYSTEMA NATURAE', and it still bears its original name of Corvus corone, derived from the Latin of Corvus, meaning Raven and the Greek κορώνη (korōnē), meaning crow.

  

Carrion crow are of the Animalia kingdom Phylum: Chordata Class: Aves Order: Passeriformes Family: Corvidae Genus: Corvus and Species: Corvus corone

  

Corvus corone can reach 45-47cm in length with a 93-104cm wingspan and weigh between 370-650g. They are protected under The Wildlife and Countryside Act 1981 in the United Kingdom with a Green UK conservation status which means they are of least concern with more than 1,000,000 territories. Breeding occurs in April with fledging of the chicks taking around twenty nine days following an incubation period of around twenty days with 3 to 4 eggs being the average norm. They are abundant in the UK apart from Northwest Scotland and Ireland where the Hooded crow (Corvus cornix) was considered the same species until 2002. They have a lifespan of around four years, whilst Crow species can live to the age of Twenty years old, and the oldest known American crow in the wild was almost Thirty years old. The oldest documented captive crow died at age Fifty nine. They are smaller and have a shorter lifespan than the Raven, which again is used as a symbol in history to live life to the full and not waste a moment!

  

They are often mistaken for the Rook (Corvus frugilegus), a similar bird, though in the UK, the Rook is actually technically smaller than the Carrion crow averaging 44-46cm in length, 81-99cm wingspan and weighing up to 340g. Rooks have white beaks compared to the black beaks of Carrion crow, a more steeply raked ratio from head to beak, and longer straighter beaks as well as a different plumage pattern. There are documented cases in the UK of singular and grouped Rooks attacking and killing Carrion crows in their territory. Rooks nest in colonies unlike Carrion crows. Carrion crows have only a few natural enemies including powerful raptors such as the northern goshawk, the peregrine falcon, the Eurasian eagle-owl and the golden eagle which will all readily hunt them.

  

Regarded as one of the most intelligent birds, indeed creatures on the planet, studies suggest that Corvids cognitive abilities can rival that of primates such as chimpanzees and gorillas and even provide clues to understanding human intelligence. Crows have relatively large brains for their body size, compared to other animals. Their encephalization quotient (EQ) a ratio of brain to body size, adjusted for size because there isn’t a linear relationship is 4.1. That is remarkably close to chimps at 4.2 whilst humans are 8.1. Corvids also have a very high neuronal density, the number of neurons per gram of brain, factoring in the number of cortical neurons, neuron packing density, interneuronal distance and axonal conduction velocity shows that Corvids score high on this measure as well, with humans scoring the highest.

  

A corvid's pallium is packed with more neurons than a great ape's. Corvids have demonstrated the ability to use a combination of mental tools such as imagination, and anticipation of future events. They can craft tools from twigs and branches to hook grubs from deep recesses, they can solve puzzles and intricate methods of gaining access to food set by humans., and have even bent pieces of wire into hooks to obtain food. They have been proven to have a higher cognitive ability level than seven year old humans. Communications wise, their repertoire of wraw-wraw's is not fully understood, but the intensity, rhythm, and duration of caws seems to form the basis of a possible language. They also remember the faces of humans who have hindered or hurt them and pass that information on to their offspring.

  

Aesop's fable of 'The Crow and the Pitcher, tells of a thirsty crow which drops stones into a water pitcher to raise the water level and enable it to take a drink. Scientists have conducted tests to see whether crows really are this intelligent. They placed floating treats in a deep tube and observed the crows indeed dropping dense objects carefully selected into the water until the treat floated within reach. They had the intelligence to pick up, weigh and discount objects that would float in the water, they also did not select ones that were too large for the container.

  

Pet crows develop a unique call for their owners, in effect actually naming them. They also know to sunbathe for a dose of vitamin D, regularly settling on wooden garden fences, opening their mouths and wings and raising their heads to the sun. In groups they warn of danger and communicate vocally. They store a cache of food for later if in abundance and are clever enough to move it if they feel it has been discovered. They leave markers for their cache. They have even learned to place walnuts and similar hard food items under car tyres at traffic lights as a means of cracking them!

  

Crows regularly gather around a dead fellow corvid, almost like a funeral, and it is thought they somehow learn from each death. They can even remember human faces for decades.Crows group together to attack larger predators and even steal their food, and they have different dialects in different areas, with the ability to mimic the dialect of the alpha males when they enter their territory!

  

They have a twenty year life span, the oldest on record reaching the age of Fifty nine. Crows can leave gifts for those who feed them such as buttons or bright shiny objects as a thank you, and they even kiss and make up after an argument, having mated for life.

  

In mythology they are associated with good and bad luck, being the bringers of omens and even witchcraft and are generally reviled for their attacks on baby birds and small mammals. They have an attack method of to stunning smaller birds before consuming them, tearing violently at smaller, less aggressive birds, which is simply down to the fact that they are so highly intelligent, and also the top of the food chain. Their diet includes over a thousand different items: Dead animals (as their name suggests), invertebrates, grain, as well as stealing eggs and chicks from other birds' nests, worms, insects, fruit, seeds, kitchen scraps. They are highly adaptable when food sources grow scarce. I absolutely love them, they are magnificent, bold, beautiful and incredibly interesting to watch and though at times it is hard to witness attacks made by them, I cannot help but adore them for so many other and more important reasons.

  

OBSERVATIONS ON THE PAIR IN MY GARDEN

  

Crows have been in the area for a while, but rarely had strayed into my garden, leaving the Magpies to own the territory. Things changed towards the end of May when a beautiful female Carrion crow appeared and began to take some of the food that I put down for the other birds. Within a few days she began to appear regularly, on occasions stocking up on food, whilst other times placing pieces in the birdbath to soften them. She would stand on the birdbath and eat and drink and come back over the course of the day to eat the softened food.

  

Shortly afterwards she brought along her mate, a tall and handsome fella, much larger than her who was also very vocal if he felt she was getting a little too close to me. By now I had moved from a seated position from the patio as an observer, to laying on a mat just five feet from the birdbath with my Nikon so that I could photograph the pair as they landed, scavenged and fed. She was now confident enough to let me be very close, and she even tolerated and recognized the clicking of the camera. At first I used silent mode to reduce the noise but this only allowed two shooting frame rates of single frame or continuous low frame which meant I was missing shots. I reverted back to normal continuous high frames and she soon got used to the whirring of the mechanisms as the mirror slapped back and forth.

  

The big fella would bark orders at her from the safety of the fence or the rear of the garden, whilst she rarely made a sound. That was until one day when in the sweltering heat she kept opening her beak and sunning on the grass, panting slightly in the heat. I placed the circular water sprayer nearby and had it rotating so that the birdbath and grass was bathed in gentle water droplets and she soon came back, landed and seemed to really like the cooling effect on offer. She then climbed onto the birdbath and opened her wings slightly and made some gentle purring, cooing noises....

  

I swear she was expressing happiness, joy....

  

On another blisteringly hot day when the sprayer was on, she came down, walked towards it and opened her wings up running into the water spray. Not once, but many times.

  

A further revelation into the unseen sides to these beautiful birds came with the male and female on the rear garden fence. They sat together, locked beaks like a kiss and then the male took his time gently preening her head feathers and the back of her neck as she made tiny happy sounds. They stayed together like that for several minutes, showing a gentle, softer side to their nature and demonstrating the deep bond between them. Into July and the pair started to bring their three youngsters to my garden, the nippers learning to use the birdbath for bathing and dipping food, the parents attentive as ever. Two of the youngsters headed off once large enough and strong enough.

  

I was privileged to be in close attendance as the last juvenile was brought down by the pair, taught to take food and then on a night in July, to soar and fly with it's mother in the evening sky as the light faded. She would swoop and twirl, and at regular intervals just touch the juvenile in flight with her wing tip feathers, as if to reassure it that she was close in attendance. What an amazing experience to view. A few days later, the juvenile, though now gaining independence and more than capable of tackling food scraps in the garden, was still on occasions demand feeding from it's mother who was now teaching him to take chicken breast, hotdogs or digestive biscuits and bury them in the garden beds for later delectation. The juvenile also liked to gather up peanuts and bury them in the grass. On one occasion I witnessed a pair of rumbunctious Pica Pica (Magpies), chasing the young crow on rooftops, leaping at him no matter how hard he tried to get away. He defended himself well and survived the attacks, much to my relief.

  

Into August and the last youngster remained with the adults, though now was very independent even though he still spent time with his parents on rooftops, and shared food gathering duties with his mum.Hotdog sausages were their favourite choice, followed by fish fingers and digestive biscuits which the adult male would gather up three at a time. In October, the three Crows were still kings of the area, but my time observing them was pretty much over as I will only put food out now for the birds in the winter months. The two adults are still here in December and now taking the food that I put out to help all birds survive in the winter months. They also have a pair of Magpies to compete with now.

Late February 2022 and Cheryl and Russell and their youngster are still with me, still dominant in the area and still taking raw chicken, hotdogs, biscuits and fatballs that I put out for them. Today I saw them mating for the first time this year in the tree and the cycle continues.

  

Corvus Corone.... magnificently misunderstood by some!

  

Paul Williams June 4th 2021 (Updated in April 2022)

  

Nikon D850 Focal length: 460mm Shutter speed: 1/1250s (Electronic front curtain enabled) Aperture: f/6.3 iso160 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (5080k) Colour space: RGB Picture control: Neutral (Sharpening +2) Active D-lighting: Low

  

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

     

LATITUDE: N 51d 28m 28.19s

LONGITUDE: E 0d 8m 10.66s

ALTITUDE: 52.00m

  

RAW (TIFF) FILE: 130.00MB NEF FILE: 89.4MB

PROCESSED (JPeg) FILE: 46.10MB

     

PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

  

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

   

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

  

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Photograph taken at an altitude of Five metres at 11:21am on Wednesday 28th July 2021 at 81 Central Parade, in front of Waltrop Gardens, looking towards the remnants of one of the original piers at Herne Bay on the Thames Estuary, CT6 5JQ, England.

   

This is all that remains of the third pier at Herne Bay, with just the steamer passengers landing stage remaining after a storm January 11th 1978 which wrecked the 3,787ft (1,154m) wooden pier, designed by Wrighton & Co which originally opened in 1899.Further out we see the Kentish Flats Offshore Wind Farm, completed in 2005 and located on a shallow plateau just outside the main Thames shipping lanes. You can also see a cluster of Maunsell sea forts built in 1942 and decommissioned in the 1950's.

  

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I left at 9am for the One hour journey down with the possibility of sun, cloud and rain showers. At Herne Bay it was time for my usual stop at 'Makcari's Coffee Lounge & Ice Cream Parlour' for a slice of cherry and almond gateaux and a lovely latte coffee before a pleasant stroll on a mixed day. With rain off in the distance I headed back to the car, just getting inside before the heavens opened!

 

On the drive home torrential rain and wind made it impossible to see the road ahead at times, before clearing and sunny spells dominating. A typical British summer day, you might say!

  

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Nikon D850 Hand held with Nikkor VR Vibration Reduction enabled on Normal setting Focal length: 190mm Shutter speed: 1/800s Aperture f/9.0 iso160 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX) Focus mode: AF-C focus AF-Area mode: 3-D tracking Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto 1, 0, 0 (5710K) Picture control: (NL) Neutral +2 sharpening

  

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[There are 9 images in this set] Briery Presbyterian Church in Prince Edward County, Virginia, is just over the Charlotte County boundary line. It is a beautiful Carpenter Gothic church, built about 1855, designed by Robert Lewis Dabney (1820-1898). Dabney was a professor of theology at Union Theological Seminary (at that time part of Hampden-Sydney College) and the author of a biography of Stonewall Jackson, noted Confederate general in the Civil War. Dabney designed three other churches—College Church at Hampden-Sydney, Farmville Presbyterian Church and Tinkling Spring Church in Augusta County, Virginia, all in Greek Revival style rather than the Gothic Revival style of Briery. He also designed his home in Hampden-Sydney; “Westmerton” is an Italianate house dating from 1856, from the same time period as Briery Church. A set of three images is at www.flickr.com/photos/universalpops/sets/72157628611503173

 

Briery Church is a one-story frame board-and-batten structure with a very noticeable steep gable roof, emphasizing the verticality of lines. Built on a T-shaped plan, the front of the building has three cross gables, which create an impression of great length. The eaves are wide with simple bracketing. Each of the gables is topped with a turned finial. There are four entrances, two on the front (entrances for men and for women) and one at each side. There is no rear entrance. Each entrance is covered with a small canopy porch with barge boarding of simple curved strips of wood. Windows are 1/1 sash except for the fixed central window on the front façade; they have diamond panes. The foundation is masonry, probably brick covered with stucco. The deep swoop of the gables provides a dramatic look to this structure. I’ve not been inside but have been told it has a beautiful interior with pine ceiling. The first church on the site was about 1750 and replaced in 1824; this church replaced the latter building. Briery Church was listed on the National Register of Historic Places November 29, 1969 with ID#69000371.

 

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

  

Marc Zakharovich Chagall (/ʃəˈɡɑːl/ shə-GAHL;[3][nb 1] born Moishe Zakharovich Shagal;[4] 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin.[1] An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.

 

Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.

 

Before World War I, he travelled between Saint Petersburg, Paris and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.

 

He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[5] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".[6]

 

Contents

 

1 Early life and education

1.1 Early life

1.2 Art education

1.3 Artistic inspiration

2 Art career

2.1 Russia (1906–1910)

2.2 France (1910–1914)

2.3 Russia and Soviet Belarus (1914–1922)

2.4 France (1923–1941)

2.4.1 The Bible illustrations

2.4.2 Nazi campaigns against modern art

2.4.3 Escaping occupied France

2.5 United States (1941–1948)

2.5.1 Aleko ballet (1942)

2.5.2 Coming to grips with World War II

2.5.3 Post-war years

2.6 France (1948–1985)

2.6.1 Ceiling of the Paris Opera (1963)

3 Art styles and techniques

3.1 Color

3.2 Subject matter

3.2.1 From life memories to fantasy

3.2.2 Jewish themes

  

Early life and education

Chagall's Parents

 

Marc Chagall was born Moishe Segal in a Lithuanian Jewish family in Liozna,[7] near the city of Vitebsk (Belarus, then part of the Russian Empire) in 1887.[note][8] At the time of his birth, Vitebsk's population was about 66,000, with half the population being Jewish.[5] A picturesque city of churches and synagogues, it was called "Russian Toledo", after a cosmopolitan city of the former Spanish Empire. As the city was built mostly of wood, little of it survived years of occupation and destruction during World War II.

 

Chagall was the eldest of nine children. The family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family.[9] His father, Khatskl (Zachar) Shagal, was employed by a herring merchant, and his mother, Feige-Ite, sold groceries from their home. His father worked hard, carrying heavy barrels but earning only 20 roubles each month (the average wages across the Russian Empire being 13 roubles a month). Chagall would later include fish motifs "out of respect for his father", writes Chagall biographer, Jacob Baal-Teshuva. Chagall wrote of these early years:

 

Day after day, winter and summer, at six o'clock in the morning, my father got up and went off to the synagogue. There he said his usual prayer for some dead man or other. On his return he made ready the samovar, drank some tea and went to work. Hellish work, the work of a galley-slave. Why try to hide it? How tell about it? No word will ever ease my father's lot... There was always plenty of butter and cheese on our table. Buttered bread, like an eternal symbol, was never out of my childish hands.[10]

 

One of the main sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia. They also made furniture and various agricultural tools.[11] From the late 18th century to the First World War, the Russian government confined Jews to living within the Pale of Settlement, which included modern Ukraine, Belarus, Poland, Lithuania, and Latvia, almost exactly corresponding to the territory of the Polish-Lithuanian Commonwealth recently taken over by Imperial Russia. This caused the creation of Jewish market-villages (shtetls) throughout today's Eastern Europe, with their own markets, schools, hospitals, and other community institutions.[12]:14

 

Most of what is known about Chagall's early life has come from his autobiography, My Life. In it, he described the major influence that the culture of Hasidic Judaism had on his life as an artist. Vitebsk itself had been a center of that culture dating from the 1730s with its teachings derived from the Kabbalah. Chagall scholar Susan Tumarkin Goodman describes the links and sources of his art to his early home:

 

Chagall's art can be understood as the response to a situation that has long marked the history of Russian Jews. Though they were cultural innovators who made important contributions to the broader society, Jews were considered outsiders in a frequently hostile society... Chagall himself was born of a family steeped in religious life; his parents were observant Hasidic Jews who found spiritual satisfaction in a life defined by their faith and organized by prayer.[12]:14

 

Chagall was friends with Sholom Dovber Schneersohn, and later with Menachem M. Schneerson.[13]

Art education

Portrait of Chagall by Yehuda (Yuri) Pen, his first art teacher in Vitebsk

 

In Russia at that time, Jewish children were not allowed to attend regular Russian schools or universities. Their movement within the city was also restricted. Chagall therefore received his primary education at the local Jewish religious school, where he studied Hebrew and the Bible. At the age of 13, his mother tried to enroll him in a Russian high school, and he recalled, "But in that school, they don't take Jews. Without a moment's hesitation, my courageous mother walks up to a professor." She offered the headmaster 50 roubles to let him attend, which he accepted.[10]

 

A turning point of his artistic life came when he first noticed a fellow student drawing. Baal-Teshuva writes that for the young Chagall, watching someone draw "was like a vision, a revelation in black and white". Chagall would later say that there was no art of any kind in his family's home and the concept was totally alien to him. When Chagall asked the schoolmate how he learned to draw, his friend replied, "Go and find a book in the library, idiot, choose any picture you like, and just copy it". He soon began copying images from books and found the experience so rewarding he then decided he wanted to become an artist.[11]

 

He eventually confided to his mother, "I want to be a painter", although she could not yet understand his sudden interest in art or why he would choose a vocation that "seemed so impractical", writes Goodman. The young Chagall explained, "There's a place in town; if I'm admitted and if I complete the course, I'll come out a regular artist. I'd be so happy!" It was 1906, and he had noticed the studio of Yehuda (Yuri) Pen, a realist artist who also operated a small drawing school in Vitebsk, which included the future artists El Lissitzky and Ossip Zadkine. Due to Chagall's youth and lack of income, Pen offered to teach him free of charge. However, after a few months at the school, Chagall realized that academic portrait painting did not suit his desires.[11]

Artistic inspiration

Marc Chagall, 1912, Calvary (Golgotha), oil on canvas, 174.6 × 192.4 cm, Museum of Modern Art, New York. Alternative titles: Kreuzigung Bild 2 Christus gewidmet [Golgotha. Crucifixion. Dedicated to Christ]. Sold through Galerie Der Sturm (Herwarth Walden), Berlin to Bernhard Koehler (1849–1927), Berlin, 1913. Exhibited: Erster Deutscher Herbstsalon, Berlin, 1913

 

Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative—the one that Chagall chose—was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle."[12]:14

 

Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art."[14] Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... "[5]

 

Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk":

 

Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city—in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.[15]

 

Art career

Russia (1906–1910)

 

In 1906, he moved to Saint Petersburg which was then the capital of Russia and the center of the country's artistic life with its famous art schools. Since Jews were not permitted into the city without an internal passport, he managed to get a temporary passport from a friend. He enrolled in a prestigious art school and studied there for two years.[11] By 1907, he had begun painting naturalistic self-portraits and landscapes.

 

Between 1908 and 1910, Chagall was a student of Léon Bakst at the Zvantseva School of Drawing and Painting. While in Saint Petersburg, he discovered experimental theater and the work of such artists as Paul Gauguin.[16] Bakst, also Jewish, was a designer of decorative art and was famous as a draftsman designer of stage sets and costumes for the Ballets Russes, and helped Chagall by acting as a role model for Jewish success. Bakst moved to Paris a year later. Art historian Raymond Cogniat writes that after living and studying art on his own for four years, "Chagall entered into the mainstream of contemporary art. ...His apprenticeship over, Russia had played a memorable initial role in his life."[17]:30

 

Chagall stayed in Saint Petersburg until 1910, often visiting Vitebsk where he met Bella Rosenfeld. In My Life, Chagall described his first meeting her: "Her silence is mine, her eyes mine. It is as if she knows everything about my childhood, my present, my future, as if she can see right through me."[11]:22

France (1910–1914)

Marc Chagall, 1911–12, The Drunkard (Le saoul), 1912, oil on canvas. 85 × 115 cm. Private collection

Marc Chagall, 1912, The Fiddler, an inspiration for the musical Fiddler on the Roof[18]

 

In 1910, Chagall relocated to Paris to develop his artistic style. Art historian and curator James Sweeney notes that when Chagall first arrived in Paris, Cubism was the dominant art form, and French art was still dominated by the "materialistic outlook of the 19th century". But Chagall arrived from Russia with "a ripe color gift, a fresh, unashamed response to sentiment, a feeling for simple poetry and a sense of humor", he adds. These notions were alien to Paris at that time, and as a result, his first recognition came not from other painters but from poets such as Blaise Cendrars and Guillaume Apollinaire.[19]:7 Art historian Jean Leymarie observes that Chagall began thinking of art as "emerging from the internal being outward, from the seen object to the psychic outpouring", which was the reverse of the Cubist way of creating.[20]

 

He therefore developed friendships with Guillaume Apollinaire and other avant-garde luminaries such as Robert Delaunay and Fernand Léger.[21] Baal-Teshuva writes that "Chagall's dream of Paris, the city of light and above all, of freedom, had come true."[11]:33 His first days were a hardship for the 23-year-old Chagall, who was lonely in the big city and unable to speak French. Some days he "felt like fleeing back to Russia, as he daydreamed while he painted, about the riches of Russian folklore, his Hasidic experiences, his family, and especially Bella".

 

In Paris, he enrolled at Académie de La Palette, an avant-garde school of art where the painters Jean Metzinger, André Dunoyer de Segonzac and Henri Le Fauconnier taught, and also found work at another academy. He would spend his free hours visiting galleries and salons, especially the Louvre; artists he came to admire included Rembrandt, the Le Nain brothers, Chardin, van Gogh, Renoir, Pissarro, Matisse, Gauguin, Courbet, Millet, Manet, Monet, Delacroix, and others. It was in Paris that he learned the technique of gouache, which he used to paint Belarusian scenes. He also visited Montmartre and the Latin Quarter "and was happy just breathing Parisian air."[11] Baal-Teshuva describes this new phase in Chagall's artistic development:

 

Chagall was exhilarated, intoxicated, as he strolled through the streets and along the banks of the Seine. Everything about the French capital excited him: the shops, the smell of fresh bread in the morning, the markets with their fresh fruit and vegetables, the wide boulevards, the cafés and restaurants, and above all the Eiffel Tower.

 

Another completely new world that opened up for him was the kaleidoscope of colours and forms in the works of French artists. Chagall enthusiastically reviewed their many different tendencies, having to rethink his position as an artist and decide what creative avenue he wanted to pursue.[11]:33

 

During his time in Paris, Chagall was constantly reminded of his home in Vitebsk, as Paris was also home to many painters, writers, poets, composers, dancers, and other émigrés from the Russian Empire. However, "night after night he painted until dawn", only then going to bed for a few hours, and resisted the many temptations of the big city at night.[11]:44 "My homeland exists only in my soul", he once said.[20]:viii He continued painting Jewish motifs and subjects from his memories of Vitebsk, although he included Parisian scenes—- the Eiffel Tower in particular, along with portraits. Many of his works were updated versions of paintings he had made in Russia, transposed into Fauvist or Cubist keys.[5]

Marc Chagall, 1912, Still-life (Nature morte), oil on canvas, private collection

 

Chagall developed a whole repertoire of quirky motifs: ghostly figures floating in the sky, ... the gigantic fiddler dancing on miniature dollhouses, the livestock and transparent wombs and, within them, tiny offspring sleeping upside down.[5] The majority of his scenes of life in Vitebsk were painted while living in Paris, and "in a sense they were dreams", notes Lewis. Their "undertone of yearning and loss", with a detached and abstract appearance, caused Apollinaire to be "struck by this quality", calling them "surnaturel!" His "animal/human hybrids and airborne phantoms" would later become a formative influence on Surrealism.[5] Chagall, however, did not want his work to be associated with any school or movement and considered his own personal language of symbols to be meaningful to himself. But Sweeney notes that others often still associate his work with "illogical and fantastic painting", especially when he uses "curious representational juxtapositions".[19]:10

 

Sweeney writes that "This is Chagall's contribution to contemporary art: the reawakening of a poetry of representation, avoiding factual illustration on the one hand, and non-figurative abstractions on the other". André Breton said that "with him alone, the metaphor made its triumphant return to modern painting".[19]:7

Russia and Soviet Belarus (1914–1922)

 

Because he missed his fiancée, Bella, who was still in Vitebsk—"He thought about her day and night", writes Baal-Teshuva—and was afraid of losing her, Chagall decided to accept an invitation from a noted art dealer in Berlin to exhibit his work, his intention being to continue on to Belarus, marry Bella, and then return with her to Paris. Chagall took 40 canvases and 160 gouaches, watercolors and drawings to be exhibited. The exhibit, held at Herwarth Walden's Sturm Gallery was a huge success, "The German critics positively sang his praises."[11]

People's Art School where the Vitebsk Museum of Modern Art was situated

 

After the exhibit, he continued on to Vitebsk, where he planned to stay only long enough to marry Bella. However, after a few weeks, the First World War began, closing the Russian border for an indefinite period. A year later he married Bella Rosenfeld and they had their first child, Ida. Before the marriage, Chagall had difficulty convincing Bella's parents that he would be a suitable husband for their daughter. They were worried about her marrying a painter from a poor family and wondered how he would support her. Becoming a successful artist now became a goal and inspiration. According to Lewis, "[T]he euphoric paintings of this time, which show the young couple floating balloon-like over Vitebsk—its wooden buildings faceted in the Delaunay manner—are the most lighthearted of his career".[5] His wedding pictures were also a subject he would return to in later years as he thought about this period of his life.[11]:75

Bella with White Collar, 1917

 

In 1915, Chagall began exhibiting his work in Moscow, first exhibiting his works at a well-known salon and in 1916 exhibiting pictures in St. Petersburg. He again showed his art at a Moscow exhibition of avant-garde artists. This exposure brought recognition, and a number of wealthy collectors began buying his art. He also began illustrating a number of Yiddish books with ink drawings. He illustrated I. L. Peretz's The Magician in 1917.[22] Chagall was 30 years old and had begun to become well known.[11]:77

 

The October Revolution of 1917 was a dangerous time for Chagall although it also offered opportunity. By then he was one of the Russia's most distinguished artists and a member of the modernist avant-garde, which enjoyed special privileges and prestige as the "aesthetic arm of the revolution".[5] He was offered a notable position as a commissar of visual arts for the country[clarification needed], but preferred something less political, and instead accepted a job as commissar of arts for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the "most distinguished school of art in the Soviet Union".

 

It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of Chagall's attempt at creating "bourgeois individualism". Chagall then resigned as commissar and moved to Moscow.

 

In Moscow he was offered a job as stage designer for the newly formed State Jewish Chamber Theater. It was set to begin operation in early 1921 with a number of plays by Sholem Aleichem. For its opening he created a number of large background murals using techniques he learned from Bakst, his early teacher. One of the main murals was 9 feet (2.7 m) tall by 24 feet (7.3 m) long and included images of various lively subjects such as dancers, fiddlers, acrobats, and farm animals. One critic at the time called it "Hebrew jazz in paint". Chagall created it as a "storehouse of symbols and devices", notes Lewis.[5] The murals "constituted a landmark" in the history of the theatre, and were forerunners of his later large-scale works, including murals for the New York Metropolitan Opera and the Paris Opera.[11]:87

 

Famine spread after the war ended in 1918. The Chagalls found it necessary to move to a smaller, less expensive, town near Moscow, although he now had to commute to Moscow daily using crowded trains. In 1921, he worked as an art teacher in a Jewish boys' shelter in suburban Malakhovka, which housed orphaned refugees from Ukrainian pogroms.[6]:270 While there, he created a series of illustrations for the Yiddish poetry cycle Grief written by David Hofstein, who was another teacher at the Malakhovka shelter.[6]:273

 

After spending the years between 1921 and 1922 living in primitive conditions, he decided to go back to France so that he could develop his art in a more comfortable country. Numerous other artists, writers, and musicians were also planning to relocate to the West. He applied for an exit visa and while waiting for its uncertain approval, wrote his autobiography, My Life.[11]:121

France (1923–1941)

 

In 1923, Chagall left Moscow to return to France. On his way he stopped in Berlin to recover the many pictures he had left there on exhibit ten years earlier, before the war began, but was unable to find or recover any of them. Nonetheless, after returning to Paris he again "rediscovered the free expansion and fulfillment which were so essential to him", writes Lewis. With all his early works now lost, he began trying to paint from his memories of his earliest years in Vitebsk with sketches and oil paintings.[5]

 

He formed a business relationship with French art dealer Ambroise Vollard. This inspired him to begin creating etchings for a series of illustrated books, including Gogol's Dead Souls, the Bible, and the La Fontaine's Fables. These illustrations would eventually come to represent his finest printmaking efforts.[5] In 1924, he travelled to Brittany and painted La fenêtre sur l'Île-de-Bréhat.[23] By 1926 he had his first exhibition in the United States at the Reinhardt gallery of New York which included about 100 works, although he did not travel to the opening. He instead stayed in France, "painting ceaselessly", notes Baal-Teshuva.[11] It was not until 1927 that Chagall made his name in the French art world, when art critic and historian Maurice Raynal awarded him a place in his book Modern French Painters. However, Raynal was still at a loss to accurately describe Chagall to his readers:

 

Chagall interrogates life in the light of a refined, anxious, childlike sensibility, a slightly romantic temperament ... a blend of sadness and gaiety characteristic of a grave view of life. His imagination, his temperament, no doubt forbid a Latin severity of composition.[6]:314

 

During this period he traveled throughout France and the Côte d'Azur, where he enjoyed the landscapes, colorful vegetation, the blue Mediterranean Sea, and the mild weather. He made repeated trips to the countryside, taking his sketchbook.[6]:9 He also visited nearby countries and later wrote about the impressions some of those travels left on him:

 

I should like to recall how advantageous my travels outside France have been for me in an artistic sense—in Holland or in Spain, Italy, Egypt, Palestine, or simply in the south of France. There, in the south, for the first time in my life, I saw that rich greenness—the like of which I had never seen in my own country. In Holland I thought I discovered that familiar and throbbing light, like the light between the late afternoon and dusk. In Italy I found that peace of the museums which the sunlight brought to life. In Spain I was happy to find the inspiration of a mystical, if sometimes cruel, past, to find the song of its sky and of its people. And in the East [Palestine] I found unexpectedly the Bible and a part of my very being.[15]:77

 

The Bible illustrations

"The Prophet Jeremiah" (1968)

 

After returning to Paris from one of his trips, Vollard commissioned Chagall to illustrate the Old Testament. Although he could have completed the project in France, he used the assignment as an excuse to travel to Israel to experience for himself the Holy Land. He arrived there in February 1931 and ended up staying for two months. Chagall felt at home in Israel where many people spoke Yiddish and Russian. According to Jacob Baal-Teshuva, "he was impressed by the pioneering spirit of the people in the kibbutzim and deeply moved by the Wailing Wall and the other holy places".[11]:133

 

Chagall later told a friend that Israel gave him "the most vivid impression he had ever received". Wullschlager notes, however, that whereas Delacroix and Matisse had found inspiration in the exoticism of North Africa, he as a Jew in Israel had different perspective. "What he was really searching for there was not external stimulus but an inner authorization from the land of his ancestors, to plunge into his work on the Bible illustrations".[6]:343 Chagall stated that "In the East I found the Bible and part of my own being."

 

As a result, he immersed himself in "the history of the Jews, their trials, prophecies, and disasters", notes Wullschlager. She adds that beginning the assignment was an "extraordinary risk" for Chagall, as he had finally become well known as a leading contemporary painter, but would now end his modernist themes and delve into "an ancient past".[6]:350 Between 1931 and 1934 he worked "obsessively" on "The Bible", even going to Amsterdam in order to carefully study the biblical paintings of Rembrandt and El Greco, to see the extremes of religious painting. He walked the streets of the city's Jewish quarter to again feel the earlier atmosphere. He told Franz Meyer:

 

I did not see the Bible, I dreamed it. Ever since early childhood, I have been captivated by the Bible. It has always seemed to me and still seems today the greatest source of poetry of all time.[6]:350

 

Chagall saw the Old Testament as a "human story, ... not with the creation of the cosmos but with the creation of man, and his figures of angels are rhymed or combined with human ones", writes Wullschlager. She points out that in one of his early Bible images, "Abraham and the Three Angels", the angels sit and chat over a glass of wine "as if they have just dropped by for dinner".[6]:350

 

He returned to France and by the next year had completed 32 out of the total of 105 plates. By 1939, at the beginning of World War II, he had finished 66. However, Vollard died that same year. When the series was completed in 1956, it was published by Edition Tériade. Baal-Teshuva writes that "the illustrations were stunning and met with great acclaim. Once again Chagall had shown himself to be one of the 20th century's most important graphic artists".[11]:135 Leymarie has described these drawings by Chagall as "monumental" and,

 

...full of divine inspiration, which retrace the legendary destiny and the epic history of Israel to Genesis to the Prophets, through the Patriarchs and the Heroes. Each picture becomes one with the event, informing the text with a solemn intimacy unknown since Rembrandt.[20]:ix

 

Nazi campaigns against modern art

 

Not long after Chagall began his work on the Bible, Adolf Hitler gained power in Germany. Anti-Semitic laws were being introduced and the first concentration camp at Dachau had been established. Wullschlager describes the early effects on art:

 

The Nazis had begun their campaign against modernist art as soon as they seized power. Expressionist, cubist, abstract, and surrealist art—anything intellectual, Jewish, foreign, socialist-inspired, or difficult to understand—was targeted, from Picasso and Matisse going back to Cézanne and van Gogh; in its place traditional German realism, accessible and open to patriotic interpretation, was extolled.[6]:374

 

Beginning during 1937 about twenty thousand works from German museums were confiscated as "degenerate" by a committee directed by Joseph Goebbels.[6]:375 Although the German press had once "swooned over him", the new German authorities now made a mockery of Chagall's art, describing them as "green, purple, and red Jews shooting out of the earth, fiddling on violins, flying through the air ... representing [an] assault on Western civilization".[6]:376

 

After Germany invaded and occupied France, the Chagalls naively remained in Vichy France, unaware that French Jews, with the help of the Vichy government, were being collected and sent to German concentration camps, from which few would return. The Vichy collaborationist government, directed by Marshal Philippe Pétain, immediately upon assuming power established a commission to "redefine French citizenship" with the aim of stripping "undesirables", including naturalized citizens, of their French nationality. Chagall had been so involved with his art, that it was not until October 1940, after the Vichy government, at the behest of the Nazi occupying forces, began approving anti-Semitic laws, that he began to understand what was happening. Learning that Jews were being removed from public and academic positions, the Chagalls finally "woke up to the danger they faced". But Wullschlager notes that "by then they were trapped".[6]:382 Their only refuge could be America, but "they could not afford the passage to New York" or the large bond that each immigrant had to provide upon entry to ensure that they would not become a financial burden to the country.

Escaping occupied France

 

According to Wullschlager, "[T]he speed with which France collapsed astonished everyone: the French army, with British support, capitulated even more quickly than Poland had done" a year earlier. "Shock waves crossed the Atlantic... as Paris had until then been equated with civilization throughout the non-Nazi world."[6]:388 Yet the attachment of the Chagalls to France "blinded them to the urgency of the situation."[6]:389 Many other well-known Russian and Jewish artists eventually sought to escape: these included Chaim Soutine, Max Ernst, Max Beckmann, Ludwig Fulda, author Victor Serge and prize-winning author Vladimir Nabokov, who although not Jewish himself, was married to a Jewish woman.[24]:1181 Russian author Victor Serge described many of the people living temporarily in Marseille who were waiting to emigrate to America:

 

Here is a beggar's alley gathering the remnants of revolutions, democracies and crushed intellects... In our ranks are enough doctors, psychologists, engineers, educationalists, poets, painters, writers, musicians, economists and public men to vitalize a whole great country.[6]:392

 

After prodding by their daughter Ida, who "perceived the need to act fast",[6]:388 and with help from Alfred Barr of the New York Museum of Modern Art, Chagall was saved by having his name added to the list of prominent artists whose lives were at risk and who the United States should try to extricate. Varian Fry, the American journalist, and Hiram Bingham IV, the American Vice-Consul in Marseilles, ran a rescue operation to smuggle artists and intellectuals out of Europe to the US by providing them with forged visas to the US. Chagall was one of over 2,000 who were rescued by this operation. He left France in May 1941, "when it was almost too late", adds Lewis. Picasso and Matisse were also invited to come to America but they decided to remain in France. Chagall and Bella arrived in New York on 23 June 1941, the day after Germany invaded the Soviet Union.[11]:150 Ida and her husband Michel followed on the notorious refugee ship SS Navemar with a large case of Chagall's work.[25] A chance post-war meeting in a French café between Ida and intelligence analyst Konrad Kellen led to Kellen carrying more paintings on his return to the United States.[26]

United States (1941–1948)

Photo portrait of Chagall in 1941 by Carl Van Vechten

 

Even before arriving in the United States in 1941, Chagall was awarded the Carnegie Prize third prize in 1939 for "Les Fiancés". After being in America he discovered that he had already achieved "international stature", writes Cogniat, although he felt ill-suited in this new role in a foreign country whose language he could not yet speak. He became a celebrity mostly against his will, feeling lost in the strange surroundings.[17]:57

 

After a while he began to settle in New York, which was full of writers, painters, and composers who, like himself, had fled from Europe during the Nazi invasions. He lived at 4 East 74th Street.[27] He spent time visiting galleries and museums, and befriended other artists including Piet Mondrian and André Breton.[11]:155

 

Baal-Teshuva writes that Chagall "loved" going to the sections of New York where Jews lived, especially the Lower East Side. There he felt at home, enjoying the Jewish foods and being able to read the Yiddish press, which became his main source of information since he did not yet speak English.[11]

 

Contemporary artists did not yet understand or even like Chagall's art. According to Baal-Teshuva, "they had little in common with a folkloristic storyteller of Russo-Jewish extraction with a propensity for mysticism." The Paris School, which was referred to as 'Parisian Surrealism,' meant little to them.[11]:155 Those attitudes would begin to change, however, when Pierre Matisse, the son of recognized French artist Henri Matisse, became his representative and managed Chagall exhibitions in New York and Chicago in 1941. One of the earliest exhibitions included 21 of his masterpieces from 1910 to 1941.[11] Art critic Henry McBride wrote about this exhibit for the New York Sun:

 

Chagall is about as gypsy as they come... these pictures do more for his reputation than anything we have previously seen... His colors sparkle with poetry... his work is authentically Russian as a Volga boatman's song...[28]

 

He was offered a commission by choreographer Leonid Massine of the Ballet Theatre of New York to design the sets and costumes for his new ballet, Aleko. This ballet would stage the words of Pushkin's verse narrative The Gypsies with the music of Tchaikovsky. While Chagall had done stage settings before while in Russia, this was his first ballet, and it would give him the opportunity to visit Mexico. While there he quickly began to appreciate the "primitive ways and colorful art of the Mexicans," notes Cogniat. He found "something very closely related to his own nature", and did all the color detail for the sets while there.[17] Eventually, he created four large backdrops and had Mexican seamstresses sew the ballet costumes.

 

When the ballet premiered on 8 September 1942 it was considered a "remarkable success."[11] In the audience were other famous mural painters who came to see Chagall's work, including Diego Rivera and José Orozco. According to Baal-Teshuva, when the final bar of music ended, "there was a tumultuous applause and 19 curtain calls, with Chagall himself being called back onto the stage again and again." The ballet also opened in New York City four weeks later at the Metropolitan Opera and the response was repeated, "again Chagall was the hero of the evening".[11]:158 Art critic Edwin Denby wrote of the opening for the New York Herald Tribune that Chagall's work:

 

has turned into a dramatized exhibition of giant paintings... It surpasses anything Chagall has done on the easel scale, and it is a breathtaking experience, of a kind one hardly expects in the theatre.[29]

 

Coming to grips with World War II

 

After Chagall returned to New York in 1943, however, current events began to interest him more, and this was represented by his art, where he painted subjects including the Crucifixion and scenes of war. He learned that the Germans had destroyed the town where he was raised, Vitebsk, and became greatly distressed.[11]:159 He also learned about the Nazi concentration camps.[11] During a speech in February 1944, he described some of his feelings:

 

Meanwhile, the enemy jokes, saying that we are a "stupid nation." He thought that when he started slaughtering the Jews, we would all in our grief suddenly raise the greatest prophetic scream, and would be joined by the Christian humanists. But, after two thousand years of "Christianity" in the world—say whatever you like—but, with few exceptions, their hearts are silent... I see the artists in Christian nations sit still—who has heard them speak up? They are not worried about themselves, and our Jewish life doesn't concern them.[15]:89

 

In the same speech he credited Soviet Russia with doing the most to save the Jews:

 

The Jews will always be grateful to it. What other great country has saved a million and a half Jews from Hitler's hands, and shared its last piece of bread? What country abolished antisemitism? What other country devoted at least a piece of land as an autonomous region for Jews who want to live there? All this, and more, weighs heavily on the scales of history.[15]:89

 

On 2 September 1944, Bella died suddenly due to a virus infection, which was not treated due to the wartime shortage of medicine. As a result, he stopped all work for many months, and when he did resume painting his first pictures were concerned with preserving Bella's memory.[17] Wullschlager writes of the effect on Chagall: "As news poured in through 1945 of the ongoing Holocaust at Nazi concentration camps, Bella took her place in Chagall's mind with the millions of Jewish victims." He even considered the possibility that their "exile from Europe had sapped her will to live."[6]:419

With Virginia Haggard McNeil

 

After a year of living with his daughter Ida and her husband Michel Gordey, he entered into a romance with Virginia Haggard, daughter of diplomat Sir Godfrey Digby Napier Haggard and great-niece of the author Sir Henry Rider Haggard; their relationship endured seven years. They had a child together, David McNeil, born 22 June 1946.[11] Haggard recalled her "seven years of plenty" with Chagall in her book, My Life with Chagall (Robert Hale, 1986).

 

A few months after the Allies succeeded in liberating Paris from Nazi occupation, with the help of the Allied armies, Chagall published a letter in a Paris weekly, "To the Paris Artists":

 

In recent years I have felt unhappy that I couldn't be with you, my friends. My enemy forced me to take the road of exile. On that tragic road, I lost my wife, the companion of my life, the woman who was my inspiration. I want to say to my friends in France that she joins me in this greeting, she who loved France and French art so faithfully. Her last joy was the liberation of Paris... Now, when Paris is liberated, when the art of France is resurrected, the whole world too will, once and for all, be free of the satanic enemies who wanted to annihilate not just the body but also the soul—the soul, without which there is no life, no artistic creativity.[15]:101

ONLY PERSONAL COMMENTS. NO LOGOS. THANK YO FOR YOUR UNDERSTANDING.© RESPECT the copyright.

 

Leica-M6 TTL 0.72 Serial Number (2466527) Elmarit 1:2.8/21mm ASPH.

Delta 100asa Developer HC 110 1+31 20º 6 1/2 min.

Nikon Coolscan 5000ED.

Photoshop CS 4

 

Het Kröller-Müller Museum is een museum voor moderne kunst, gelegen in het Nationaal Park De Hoge Veluwe te Otterlo in de Nederlandse provincie Gelderland. Het museum en het aangrenzende beeldenpark, samen ca. 25 ha, genieten internationale bekendheid. Jaarlijks komen er ruim 250.000 bezoekers uit binnen- en buitenland.

 

The Kröller-Müller Museum is a museum for modern art, located in the National Park De Hoge Veluwe in Otterlo in the Dutch province of Gelderland. The museum and the adjacent sculpture park, together around 25 ha, are internationally renowned. Every year more than 250,000 visitors come from home and abroad.

 

🔴Leica my point of view.

Wetzlar, Deutschland.

 

Leica-CL 1974 Rangefinder

 

Leica-M 6 TTL 0.72 1998 Rangefinder

 

Leica-M6 TTL 0.85 2001 Rangefinde

Live Paint que eu e Alex Senna fizemos no RESPECT Festival de Música, Arte e Cultura... uma experiência única pintar num evento loko como esse e interagir com o público de várias partes de SP e até de MG... mto bom conhecer várias pessoas novas e ouvir muitos elogios, povo pedir pra tirar fotos dos graffs e inclusive com a gente rsrs... sensacional!!!

 

Uma das coisas mais recompensadoras q ouvi foi um tiozinho simples q estava estava trabalhando na festa q disse: "Meu nunca vi uma coisa como essa na minha vida, estou impressionado" ele disse que num tem acesso a arte, na cidade dele num existia graffiti e que nunca tinha visto alguém fazer uma pintura ao vivo, de poder acompanhar o processo todo... legal poder proporcionar isso...

 

Bom agradeço ao brother Alex Senna pelo rolê e oportunidade, a festa foi cansativa mas bem recompensadora...

 

Desenho feito no improviso...

*** Please NOTE and RESPECT the Copyright ***

 

© Gary Prince - All Rights Reserved

 

This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

  

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Photograph taken at an altitude of Two metres at 13:46pm on Wednesday 3rd November 2021 off Central Parade standing beside the wall of Neptune's Arm at Herne Bay on the Thames Estuary, CT6 5JQ, England.

  

I left at 9am for the One hour journey down with the sun breaking through to leave a wonderful, bright sunny day. At Herne Bay it was time for my usual stop at 'Makcari's Coffe Lounge & Ice Cream Parlour' for a slice of Lemon gateaux and a lovely latte coffee before a pleasant stroll on the pebbled shoreline.

  

Here we see a group of adult Black-headed gulls (Chroicocephalus ridibundus), in flight in winter plumage. These are beautiful little agile birds in flight, with vivid bright vivid red bills and matching legs and a dark spot behind the eyes.

  

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Nikon D850 Hand held with Nikkor VR Vibration reduction enabled on Normal setting 1 Focal length: 34mm Shutter speed: 1/500s Aperture f/13.0 iso640 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX) Focus mode: AF-C focus AF-Area mode: 3-D tracking VR: ON Exposure mode: Manual exposure Metering mode: Matrix metering White balance: Auto 1, 0, 0 (5220K) Active D-Lighting: Low Colour space: Adobe RGB Picture control: (NL) Neutral +2 sharpening

  

Nikkor AF-S 24-120mm f/4G ED VR. Lee SW150 MKII filter holder. Lee SW150 77mm screw in adapter ring. Lee SW150 Circular Polariser glass filter. Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Black Rapid curve breathe sport shoulder strap. My Memory 128GB Class 10 SDXC. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Jessops Tripod bag.

  

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LATITUDE: N 51d 22m 24.35s

LONGITUDE: E 1d 7m 42.82s

ALTITUDE: 2.0m

  

RAW (TIFF) FILE: 130.00MB NEF FILE SIZE: 91.30MB

PROCESSED (JPeg) FILE: 43.00MB

  

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PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

  

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

      

respect!!!!!!!!!!

A discrição é uma característica das fêmeas (dos patos) que exibem por norma cores menos vivas que os respectivos machos. Ainda assim, aos machos (das patas) não falta encantamento por elas e isso manifesta-se muitas vezes por autênticas violações em grupo na época do acasalamento... e inclusive com alguma frequência ocorrem acasalamentos entre espécies diferentes, embora mais comuns em cativeiro onde não haja possibilidade de cruzamento dentro da espécie.

 

As fêmeas humanas são menos discretas... nas cores, que por vezes realçam artificialmente e na transmissão das notícias....

 

Piadeira, fêmea / Wigeon, female (Anas penelope)

Quinta do Lago, Loulé, Portugal. (08/12/08)

Taken at Daigo, Kyoto Japan

December 31, 2011

Respected family-owned coach operator Truemans of Ash Vale entered administration on April 24th 2020 after 67 years of trading in the Surrey/Hants border towns of Bagshot, then Deepcut, followed by Fleet and, since 2004, Ash Vale. Upon closure, the fleet consisted of 7 Irizars, 7 Neoplans and a solitary Ford Tourneo.

 

It took until the beginning of August 2020 for all coaches to move on to pastures new, albeit some in dealers yards awaiting resale.

 

I managed to grab some shots in the period covering the staggered departure of the coaches.

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

  

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***** Selected for sale in the GETTY IMAGES COLLECTION on Monday 23rd May 2022

  

CREATIVE RF gty.im/1397015247 MOMENT ROYALTY FREE COLLECTION**

  

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Photograph taken at an altitude of Fifty eight metres at 07:50am on a beautiful Spring morning on Sunday 8th May 2022, off Chessington Avenue in Bexleyheath, Kent.

  

Here we see an adult Vixen Red fox (Vulpes vulpes), the largest of the true foxes (a genus of the sub-family Caninae which form a proper clade or monophyletic or natural group). She is with one of her cubs, teaching it to wait in line for food. Red foxes are the largest of the worldwide foxes, and also the most commonly widespread across the Northern hemisphere, Europe and North Africa.

  

Nikon D850 Focal length: 300mm Shutter speed: 1/250s Aperture: f/5.6 iso500 Hand held with Tamron VC Vibration control set to ON (Position 1) 14 Bit uncompressed RAW NEF file size L (8256 x 5504 pixels) FX (36 x 24) Focus mode: AF-C AF-Area mode: 3D-tracking AF-C Priority Selection: Release. Nikon Back button focusing enabled 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual exposure mode Metering mode: Matrix metering White balance on: Auto1, 0, 0 (4410k) Colour space: RGB Picture control: Neutral (Sharpening +2) Active D-lighting: Low

  

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

     

LATITUDE: N 51d 28m 28.45s

LONGITUDE: E 0d 8m 10.28s

ALTITUDE: 58.00m

  

RAW (TIFF) FILE: 130.00MB NEF FILE: 92.5MB

PROCESSED (JPeg) FILE: 38.50MB

      

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HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

   

Respect the right for urban solitude.

惺惺相惜

 

Discovery Meadow Park, San Jose, CA

4th of July Firework

La parroquia se ubica en una pequeña hondonada con respecto al resto de la ciudad de Taxco. Tiene una planta de cruz latina, con una nave lateral que sirve de capilla para el altar de las Ánimas. Posee dos torres gemelas de estilo churrigueresco y una capilla decorada con azulejos de talavera, característicos de la arquitectura novohispana.Santa Prisca cuenta con nueve retablos, trabajados en madera y recubiertos con hoja de oro. El estilo de los retablos forma una unidad con el conjunto arquitectónico, es decir, se trata de una muestra del barroco novohispano de mediados del siglo XVIII. El retablo mayor está dedicado a la Purísima Concepción y a los santos patrones de la ciudad de Taxco de Alarcón: Santa Prisca y San Sebastián. En las capillas del transepto del templo se ubican otros dos importantes retablos, uno dedicado a la Virgen de Guadalupe y el otro a la Virgen del Rosario.Los temas centrales de la construcción son: la patrona Sta Prisca, San Sebastián, los evangelistas, las conchas (que simbolizan el bautismo de Jesús), las hojas de laurel (que simbolizan el triunfo de la fe) y las uvas, que representan la sangre de Cristo. En el interior se hallan pinturas de Miguel Cabrera, llamado «el divino», pintor oaxaqueño nacido en el siglo XVII, al que José de la Borda encargó los cuadros que decoran el edificio.

 

es.wikipedia.org/wiki/Templo_de_Santa_Prisca_de_Taxco

 

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©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

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Photograph taken at an altitude of Fifty four metres at 07:27am on a showery morning on Monday 10th May 2021, off Chessington Avenue in Bexleyheath, Kent.

  

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THE EASTERN GRAY/EASTERN GREY SQUIRREL (SCIURUS CAROLINENSIS)

  

By Paul Williams

  

The Grey (or Gray) squirrel, you either love 'em or you hate 'em. Cute and fluffy little funsters or destructive critters who ruin trees, kill bird chicks and trees and damage our homes... oh and it's their fault we lost our native Red squirrels as well!

  

OK

  

I get it and I see both sides of the story of course. For my part, I am a nature, wildlife and landscape photographer who prefers the company of animals and natural beauty to fellow humans who are systematically plundering Mother Earth's resources and killing off her beautiful creatures at an alarming rate! I believe there is a natural order of things, creatures kill other creatures to survive, they adapt to situations and when mankind encroaches on their territory to make a fast buck, those animals sometimes adapt to survive and the order changes. That is the balance of nature which is ever changing and affected by us..... the dumbest of the great apes. Some species are driven out by others, some may be destined to become extinct, the fittest will survive, and sometime a species will need intervention and help from mankind in order to survive... usually as a direct consequence of mankind's own actions in destroying the animal kingdom's natural habitat of course.

  

I adore these little fellas and at almost sixty years old, I never grew up knowing red squirrels at all. I've seen reds in Scotland and black squirrels in Stanley Park on Vancouver Island in British Columbia, Canada, but in my beloved home country of England I have always known and loved the cute little Greys. They visit my garden and give me hours, days, weeks of happiness and wonderful photographic opportunities, and I see them in Parks and forests all around me, so it's time to offer up an insight into the Grey squirrel, much loved, much hated... a sort of Marmite rodent if you will.

  

WHAT EXACTLY IS A SQUIRREL?

  

The word 'Squirrel', was first recorded in 1327 and hails from the Anglo-Norman word 'Esquirel', from old French 'Escurel', which was a reflex for the Latin word 'Sciurus'.The Eastern gray squirrel (Sciurus carolinensis) is also known as the Eastern Grey squirrel or simply grey squirrel depending on the region of the world it is found. It is a tree squirrel, of the squirrel family Sciuridae including over one hundred arboreal species native to all continents of the world other than Antarctica and Oceania. Tree squirrels live mostly in trees, apart from the flying squirrel. The best known genus is Sciurus, containing most of the bushy tailed squirrels which are found in Europe, North America, temperate Asia as well as central and south America.

  

The scientific classification for the Eastern Grey is:

 

KINGDOM: ANIMALIA PHYLUM: CHORDATA CLASS: MAMMALIA ORDER: RODENTIA FAMILY: SCIURIDAE GENUS: SCIURUS SUBGENUS: SCIURUS SPECIES: SCIURUS CAROLINENSIS

  

They were first noted by German naturalist, botanist, entomologist, herpetologist, and malacologist - Johann Friedrich Gmelin in 1788.

  

A mammal and rodent, predominantly herbivorous they are none the less an omnivore with a life span of between two and ten years. They can grow to 70cm in length and weigh up to 8kg. There are more than two hundred and sixty species of worldwide squirrel, the smallest being the African pygmy squirrel at just 10cm in length, whereas the Indian giant squirrel is three feet long! The oldest fossil of a squirrel, Hesperopetes, dates back to the late Eocene epoch period Chadronian period of 40-35 million years ago. The tree squirrels rotate their ankles by 180 degrees, so that the hind paws pointy backwards gripping tree bark which enables them to descend a tree headfirst.

  

Originally native to Eastern and Midwestern United States of America, they were first introduced into the United Kingdom in 1876 in Henbury Park, Macclesfield in Cheshire when Victorian banker Thomas V. Brocklehurst released a pair of Greys that he brought back from a business trip to America after their attraction as pets had waned. Victorians had a penchant for collecting exotic animals and birds of the world, but trends came and went and subsequently animals were simply discarded into the wilderness. There are early records of greys released near Denbighshire in north Wales from private collections. Later introduced to several regions in the UK, they quickly settled and spread, colonizing an area of three hundred miles in a quarter of a century between Argyll and Stirlingshire in Scotland.

  

Introductions of the Greys between 1902 and 1929 (the year of the last recorded introduction), included: Regent’s Park in London, Berkshire, Northamptonshire, Oxfordshire, Oxfordshire, Devon, Warwickshire, Nottinghamshire, Suffolk and Hampshire. Grey Squirrels spread into Gloucestershire and eastern Wiltshire with animals coming directly from the United States or from Woburn. One hundred greys were released in Richmond Park in Surrey in 1902, Ninety one into Regent’s Park between 1905 and 1907 and a further ten New Jersey imported greys were introduced into Woburn Park in Bedfordshire.

  

Predators include hawks, weasels, raccoons, bobcats, foxes, domestic and feral cats, snakes, owls, and dogs, African harrier-hawks in Africa and... oh yes, Mankind pretty much everywhere who despise, mistreat, cull or eat it .

  

FACTS, MYTHS AND THAT POXY PARAPOX!

  

The massive decline in native red squirrels blamed upon the spread of the invasive greys has always been perhaps a little harsh as reds were already in a steep decline due to loss of habitat and disease and thus the greys simply took over the areas where the reds were dwindling. It's also a fact that reds were also seen as a plague, branded as pests who killed birds and damaged trees and the culling of reds almost brought them to the brink of extinction. Licenses to kill reds could still be obtained up until the seventies!

  

Reds suffered at the hands of mankind thanks to a combination of agricultural deforestation also linked with war and fuel needs which caused extinction in Southern Scotland and Ireland by the early eighteenth century, way before greys had been introduced. Harsh winters killed off the less hardy red population in the early nineteenth and twentieth centuries.

  

Greys are more adept at finding food and adapting to locations and environments, but also carry the squirrel poxvirus (SQPV) which although not particularly harmful to them, is a serious infection for the reds.

  

Parapox in red squirrels causes swollen lesions around the mouth, eyes, ears and nose also the front paws and sometimes genitals and skin ulcers and kills a red within fifteen days. There is no definitive correlation between the spread of the virus and the spread of the Greys, it actually arrived in several areas before the greys began to colonize there. An epidemic virus was observed in Red squirrels from at least 1900 with isolation attempts failing, and the first case of Parapox in the UK was in 1980 in the county of Norfolk. Greys cannot transmit the virus to reds via saliva or faeces, but reds can between each other from bodily secretions and at animal feeders in gardens. The transmission from greys to reds is though to come from parasites. Eight to ten per cent of reds survive the virus, and there is some evidence that reds are slowly building an evolved resistance.

  

Greys are seen as pests to forest land, stripping bark from trees during May and June, and are also capable of destroying household bins, water pipes, causing roof damage not to mention taking eggs and killing young chicks of ground nesting and songbird populations. They also take from bird feeders and there is a whole industry for creating squirrel proof feeders these days.

  

THE CULLING OF GREY SQUIRRELS

  

Grey squirrels have limited legal protection and can be legally controlled all year round by a variety of methods including shooting and trapping. Methods of trapping and killing include Dray poking and shooting, Tunnel trapping using spring traps set in accordance with BASC’s trapping pest mammals code of practice. They can also be shot using a shotgun or powerful air rifle or up until September 30th 2014 poisoned by Warfarin (Now outlawed).

  

Whilst professional trapping and extermination is hopefully done as humanely as possible, there have been cases, many of them where cost savings have been gained by battering the squirrels to death! Grey squirrels are trapped in ghastly metal contraptions for hours and hours, wearing themselves out frantically trying to escape by gnawing at the metals bars. They bite the floor and scratch at them with their claws and do not get a moments peace or rest through absolute fear. Once the traps are retrieved, each squirrel, terrified will be thrown into a sack and smacked on the head countless times with a blunt instrument. When a mother is slaughtered, her babies who are totally dependent on her, will die a slow death of thirst and starvation.

  

There is an argument for the control of Greys on many grounds but also a counter argument that Culling does not work, and has not on countless times where, once a population of greys have been culled, the nearest group will move back in and claim the land. The university of Bristol concluded that there was little evidence that culling greys to save red squirrels was effective, and that perhaps finding a way of boosting red squirrel immunity to the poxvirus or planting areas of yew trees where reds are known to thrive and spending money on research into positive moves might be a better option.

  

In Ireland, the re-introduction of the Pine marten, a species made extinct originally by the very same land owners who also wish to do the same to the grey squirrel, has seen the rapid demise of the grey and the re-introduction of the native reds. Red squirrels are smaller and more nimble than their grey counterparts, and as such can get to the very ends of tree branches where neither the pine martins, nor more importantly the heavier greys can, thus surviving and thriving. As a result in Ireland, the grey squirrel population has crashed in approximately 9,000 km2 of its former range and the reds has become common once more after a thirty year absence... oh and Pine Martens are protected again!

  

In Scotland, Pine Martens exist in areas where Red squirrels thrive, and greys do not. So perhaps there is a lesson here, as in England where there are no pine martens, the greys are prolific breeders. So there is an argument against the barbarity of shooting and poisoning greys, and if, as so many believe, the greys MUST be controlled, how about a more humane and natural method that nature intended.. with re-introduction of predators. Just a thought!

  

So a few facts and figures on the greys and to wrap up, from a purely personal perspective I love these little guys, as I do almost every creature in nature other than those eight legged beasties that shall not be named and for which I have a deep and powerful phobia that borders on paranoia!

  

I could no more harm an animal deliberately than eat a McDonald's McRib (Once saw how they are made and let me just say... eeeuuuuuwwwww!!).

  

They are small, cute, cuddly, furry, they photograph beautifully, have great personality and make me smile. They trust me enough to take food from my hand in parks, and I can't bare the though of ugly, hairy land owners sticking a shotgun in their face and blowing them away! I appreciate they can be a pest, a problem, a menace, that their PR managers might have a bit of a problem winning you over when they flay small chicks alive on your lawn or decimate the songbird population by stealing their eggs.... and perhaps there is a need to keep the population under control and try and re-establish the red population.....

  

Yep I get that....

  

I just hope we can solve the problem more humanely to create a peaceful coexistence of the reds and greys in different areas. A man can dream can't he.

  

Paul Williams June 18th 2021

©DESPITE STRAIGHT LINES (Paul Williams).

  

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Nikon D850 Focal length 600mm Shutter speed: 1/640s Aperture f/6.3 iso800 Tripod mounted with Tamron VC Vibration Control set to position 3. Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) AF-C Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Spot metering White balance on: Auto1 (4570k) Colour space: RGB Picture control: Neutral (Sharpening +2)

  

Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Nikon GP-1 GPS module. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter.Lee SW150 Filters field pouch. Hoodman HEYENRG round eyepiece oversized eyecup.Manfrotto MT057C3-G Carbon fiber Geared tripod 3 sections. Neewer Carbon Fiber Gimble tripod head 10088736 with Arca Swiss standard quick release plate. Neewer 9996 Arca Swiss release plate P860 x2.Jessops Tripod bag. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.

    

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LATITUDE: N 51d 28m 28.33s

LONGITUDE: E 0d 8m 10.33s

ALTITUDE: 58.0m

  

RAW (TIFF) FILE: 130.00MB NEF FILE: 92.8MB

PROCESSED (JPeg) FILE: 24.20MB

  

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PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00

  

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.

 

© István Pénzes.

Please NOTE and RESPECT the copyright.

 

19th January 2025, @home, The Netherlands

 

Hasselblad X2D 100C

Hasselblad XCD38mm f2.5

© István Pénzes.

Please NOTE and RESPECT the copyright.

 

28th January 2017

 

Hasselblad 503CW

Carl Zeiss Planar 2,8/80mm

Hasselblad CFV-50c

see more in my professional stream: www.flickr.com/photos/4dreamz/albums/72157681477402395

 

Please NOTE and RESPECT the copyright.

© 2017 photos4dreams - All rights reserved.

 

This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.

 

for purchase information see my profile

Located at San Siro Stadio

 

Taken and filmed by Kelvin Ho

The Blessed Kingdom of Netherlands!

 

SONY SLT A77 Mark II

©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®

  

No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)

 

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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 45.253+ Million visitors to my FLICKR site.

  

***** Selected for sale in the GETTY IMAGES COLLECTION on January 11th 2019

  

CREATIVE RF gty.im/1092223074 MOMENT OPEN COLLECTION**

  

This photograph became my 5,870th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.

  

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Photograph taken at an altitude of Four metres at 11:33am on Friday 9th November 2018, off Reynishverfisegur 215 and bjodvegur at Reynisfjara black sand beach and Reynisdranger Basalt columns on the south coast of Iceland.

 

This is located close to the fishing village of Vík í Mýrdal.

Reynisfjara boasts several enormous basalt stacks and powerful, roaring waves off the Atlantic Ocean, and was voted as one of the top ten non-tropical beaches to visit on the planet by National Geographic. The Reynisdranger basalt stacks are named Langsamur, Landdrangur and Skessudranger or Háidrangur.

  

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Nikon D850 Focal length 24mm. Hand held with Nikkor VR vibration reduction enabled on Normal setting. Shutter speed 1/250s Aperture f/5.6 iso100 RAW (14 bit uncompressed) Image size L 8256 x 5504 FX). Colour space. Adobe RGB. AF-C focus 51 point with 3-D tracking. Manual exposure. Matrix metering. Auto 0 white balance (8030K). Nikon Distortion control on. Vignette control Normal.

  

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LATITUDE: N 63d 24m 8.20s

LONGITUDE: W 19d 2m 29.50s

ALTITUDE: 4.0m

  

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RAW (TIFF) FILE: 130.00MB NEF: 90.3MB

PROCESSED (JPeg) FILE: 26.80MB

  

PROCESSING POWER:

  

Nikon D850 Firmware versions C 1.01 (16/01/2018) LD Distortion Data 2.017 (20/3/18)

  

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.

   

Lego

Scania 143M - 500

"Respect the Old Skool"

 

Lego Powerfunctions:

2x L-Motors

1x Servo-Motor

Buwizz 2.0

 

Now the real Lego-model is finished.

 

The Lego - Scania 143 was built in "Old Skool" Danmark-style.

The idea for the color combination comes from the Belgian freight company "Perditrans".

However, the implementation is not 100% real.

 

Pic is the CD Cover "The Collection"....Alanis Morissette

 

Fuck you....

I don't mean anything to you

I never have and never will

I don't know why I waste my time

Waste my fucking time on earth

You only care about YOU and what you need

What the fuck about me?!?!

You have your fucking life and I wait here for you

Waiting like the stupid bitch I am

Like a fucking fool

I gave my heart to you

And you fucking stomp it on the ground?

Throw it in the fucking trash, rip it to pieces?

Squish it with your bare hands?

Just because you can!!

 

WTF was I thinking!?!?!?!

I sit here in grief.....heart broken

And you can't take the time out of your

Fucking day!!!!

You want me to hate you!?!

Cuz you can't be man enough to tell me!?!?!

Well here ya fucking go....

 

Fuck it! Fuck you! Fuck it All!

Fuck the world...and FUCK YOU AGAIN!

 

I don't need this shit or want it....

I'm threw

   

I took the info from wikipedia

 

I ask everyone to respect this page.

I do not want this to be used for a struggle of good against evil.

A fight Isreal-Iran or Israel-Palestine.

Á proper channels for this.

This page is ara to reveal a bit of Israel.

Thank you all for understanding

 

Is a country in Western Asia located on the eastern shore of the Mediterranean Sea. It borders Lebanon in the north, Syria in the northeast, Jordan in the east, and Egypt on the southwest, and contains geographically diverse features within its relatively small area.[6] Also adjacent are the West Bank to the east and Gaza Strip to the southwest. Israel is the world's only predominantly Jewish state with a population of about 7.5 million people, of whom approximately 5.7 million are Jewish. The largest ethnic minority group is the segment denominated as Arab citizens of Israel, while minority religious groups include Muslims, Christians, Druze, Samaritans, most of whom are found within the Arab segment.

The modern state of Israel has its historical and religious roots in the Biblical Land of Israel (Eretz Yisrael), also known as Zion, a concept central to Judaism since ancient times, and the heartland of the ancient kingdoms of Israel and Judah. Following the birth of political Zionism in 1897 and the Balfour Declaration, the League of Nations granted Great Britain the Mandate for Palestine after World War I, with responsibility for establishing "...such political, administrative and economic conditions as will secure the establishment of the Jewish national home, as laid down in the preamble, and the development of self-governing institutions, and also for safeguarding the civil and religious rights of all the inhabitants of Palestine, irrespective of race and religion..."

In November 1947, the United Nations voted in favor of the partition of Palestine, proposing the creation of a Jewish state, an Arab state and a UN-administered Jerusalem. Partition was accepted by Zionist leaders but rejected by Arab leaders leading to the 1947–1948 Civil War in Mandatory Palestine. Israel declared independence on 14 May 1948 and neighboring Arab states attacked the next day. Since then, Israel has fought a series of wars with neighboring Arab states, and in consequence occupies territories beyond those delineated in the 1949 Armistice Agreements. Some international borders remain in dispute. Israel has signed peace treaties with Egypt and Jordan, though efforts to resolve conflict with the Palestinians have so far only met with limited success.

Israel is a developed country and a representative democracy with a parliamentary system and universal suffrage. The Prime Minister serves as head of government and the Knesset serves as Israel's legislative body. The economy, based on the nominal gross domestic product, was the 41st-largest in the world in 2008. Israel ranks highest among Middle Eastern countries on the UN Human Development Index, and has one of the highest life expectancies in the world. Jerusalem is the country's capital, although it is not recognized internationally as such,[a] while Israel's main financial center is Tel Aviv.

 

Etymology

Over the past three thousand years, the name "Israel" has meant in common and religious usage both the Land of Israel and the entire Jewish nation. According to the Bible, Jacob is renamed Israel after successfully wrestling with an angel of God.

The earliest archaeological artifact to mention "Israel" (other than as a personal name) is the Merneptah Stele of ancient Egypt (dated the late 13th century BCE), which refers to a people of that name. The modern country was named Medinat Yisrael, or the State of Israel, after other proposed names, including Eretz Israel ("the Land of Israel"), Zion, and Judea, were rejected. In the early weeks of independence, the government chose the term "Israeli" to denote a citizen of Israel, with the formal announcement made by Minister of Foreign Affairs Moshe Sharett.

 

History

Please go to

en.wikipedia.org/wiki/History_of_Israel

 

Geography

Please go to

en.wikipedia.org/wiki/Geography_of_Israel

 

Other Info

Oficial Name:

מדינת ישראל

(Medīnat Yisra'el)

دولة إسرائيل

(Dawlat Isrā'īl)

 

Independence:

Declaration 14 May 1948 (05 Iyar 5708)

 

Area:

20.425km2

 

Inhabitants:

7.910.000

 

Languages:

Adyghe [ady] 3,000 in Israel (1987). Kafr Kama and Rehaniya, small border villages. Alternate names: West Circassian, Adygey. Classification: North Caucasian, West Caucasian, Circassian

More information.

 

Amharic [amh] 40,000 in Israel (1994 H. Mutzafi). Classification: Afro-Asiatic, Semitic, South, Ethiopian, South, Transversal, Amharic-Argobba

More information.

 

Arabic, Judeo-Iraqi [yhd] 100,000 in Israel (1994). Population total all countries: 100,100. Originally from Iraq. Also spoken in India, Iraq, United Kingdom. Alternate names: Iraqi Judeo-Arabic, Jewish Iraqi-Baghdadi Arabic, Arabi, Yahudic. Dialects: Not intelligible with Judeo-Tripolitanian Arabic, Judeo-Tunisian Arabic, or Judeo-Moroccan Arabic. Close to Baghdadi Arabic and North Mesopotamian Arabic. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Judeo-Moroccan [aju] 250,000 in Israel (1992 H. Mutzafi). Population total all countries: 258,925. Also spoken in Canada, France, Morocco. Dialects: Many dialects. Much intelligibility with Tunisian Judeo-Arabic, some with Judeo-Tripolitanian Arabic, but none with Judeo-Iraqi Arabic. May be inherently intelligible with Moroccan Arabic. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Judeo-Tripolitanian [yud] 30,000 in Israel (1994 H. Mutzafi). Population total all countries: 35,000. Originally from Tripolitania, Libya. None left in Libya. Also spoken in Italy. Alternate names: Tripolitanian Judeo-Arabic, Jewish Tripolitanian-Libyan Arabic, Tripolita'it, Yudi. Dialects: Not intelligible with Judeo-Iraqi Arabic. Medium intelligibility with Judeo-Tunisian Arabic and Judeo-Morocco Arabic. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Judeo-Tunisian [ajt] 45,000 in Israel (1995 H. Mutzafi). Population total all countries: 45,500. Also spoken in France, Italy, Spain, Tunisia, USA. Dialects: Medium intelligibility with Judeo-Moroccan Arabic and Judeo-Tripolitanian Arabic, but none with Judeo-Iraqi Arabic. A lexicon of 5,000 words in 1950 had 79% words of Arabic origin, 15% Romance loanwords, 4.4% Hebrew loanwords, 1.6% others (D. Cohen 1985:254). Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Judeo-Yemeni [jye] 50,000 in Israel (1995 Y. Kara). Population total all countries: 51,000. Also spoken in Yemen. Alternate names: Judeo-Yemeni, Yemenite Judeo-Arabic. Dialects: San`a, `Aden, Be:da, Habban. Language varieties are all markedly different from their coterritorial Muslim ones. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, South Levantine Spoken [ajp] 910,000 in Israel. Alternate names: Levantine, Palestanian-Jordanian Arabic. Dialects: Madani, Fellahi. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Arabic, Standard [arb] Middle East, North Africa. Classification: Afro-Asiatic, Semitic, Central, South, Arabic

More information.

 

Armenian [hye] 3,000 in Israel (1971 The Armenian Review). Jerusalem. Alternate names: Haieren, Somkhuri, Ermenice, Armjanski. Dialects: Western Armenian. Classification: Indo-European, Armenian

More information.

 

Barzani Jewish Neo-Aramaic [bjf] 20 (2004 Mutzafi). In Israel since 1951. Alternate names: Lishan Didan, Lishan Dideni, Bijil Neo-Aramaic. Dialects: Barzan, Shahe, Bijil. Sandu is a Jewish Neo-Aramaic dialect closely related to Barzani, but evinces several isoglosses binding it with Lishana Deni. Classification: Afro-Asiatic, Semitic, Central, Aramaic, Eastern, Central, Northeastern Nearly extinct.

More information.

 

Bukharic [bhh] 50,000 in Israel (1995 H. Mutzafi). Population total all countries: 110,000. Also spoken in USA, Uzbekistan. Alternate names: Bokharic, Bukharian, Bokharan, Bukharan, Judeo-Tajik. Dialects: Related to Tajiki Persian. May be easily intelligible with Tajiki or Farsi. Also close to Judeo-Persian. Classification: Indo-European, Indo-Iranian, Iranian, Western, Southwestern, Persian

More information.

 

Domari [rmt] 2,000 in Israel (1997 Yaron Matras). Population includes Palestinian West Bank and Gaza. Mainly Jerusalem (Old City), Bir Zeit near Ramallah, and Gaza. Alternate names: Nawari, Dom, Near-Eastern Gypsy. Dialects: Nawari. Classification: Indo-European, Indo-Iranian, Indo-Aryan, Central zone, Dom

More information.

 

Dzhidi [jpr] 60,000 in Israel (1995). Also spoken in Iran. Alternate names: Judeo-Persian. Dialects: Close to Bukharic, Western Farsi. Classification: Indo-European, Indo-Iranian, Iranian, Western, Southwestern, Persian

More information.

 

English [eng] 100,000 in Israel (1993). Alternate names: Anglit. Classification: Indo-European, Germanic, West, English

More information.

 

Hebrew [heb] 4,847,000 in Israel (1998). Population total all countries: 5,055,000. Also spoken in Australia, Canada, Germany, Palestinian West Bank and Gaza, Panama, United Kingdom, USA. Alternate names: Ivrit. Dialects: Standard Hebrew (General Israeli, Europeanized Hebrew), Oriental Hebrew (Arabized Hebrew, Yemenite Hebrew). Not a direct offspring from Biblical or other varieties of Ancient Hebrew, but an amalgamation of different Hebrew strata plus intrinsic evolution within the living speech. Classification: Afro-Asiatic, Semitic, Central, South, Canaanite

More information.

 

Hulaulá [huy] 10,000 in Israel (1999 H. Mutzafi). Population total all countries: 10,300. Also spoken in Iran, USA. Alternate names: Judeo-Aramaic, Lishana Noshan, Lishana Axni, Jabali, Kurdit, Galiglu, 'Aramit, Hula Hula. Dialects: Saqiz, Kerend, Sanandaj, Suleimaniya. Very different and not intelligible with the Christian Aramaic languages or Lishana Deni. 60% to 70% intelligibility of Lishanan and Lishanid Noshan. Classification: Afro-Asiatic, Semitic, Central, Aramaic, Eastern, Central, Northeastern

More information.

 

Hungarian [hun] 70,000 in Israel (1998 H. Mutzafi). Classification: Uralic, Finno-Ugric, Ugric, Hungarian

More information.

 

Israeli Sign Language [isr] 5,000 users including some hearing persons (1986 Gallaudet Univ.). Alternate names: ISL. Dialects: Not derived from and relatively little influence from other sign languages. No special signs have been introduced from outside by educators. Minor dialect variation. Classification: Deaf sign language

More information.

 

Judeo-Berber [jbe] 2,000 (1992 Podolsky). Formerly High Atlas range, Tifnut, and other communities. Speakers went to Israel from 1950 to 1960. Classification: Afro-Asiatic, Berber, Northern, Atlas

More information.

 

Judeo-Georgian [jge] 59,800 in Israel (2000 WCD). Population total all countries: 79,800. Some have gone elsewhere in the former USSR and to other countries. Also spoken in Georgia. Dialects: Oriental and Ashkenazic Jews in Georgia live separately. Judeo-Georgian speakers live separately from non-Jewish Georgian speakers. May not be a separate language from Georgian, but a dialect using various Hebrew loanwords. Classification: Kartvelian, Georgian

More information.

 

Judeo-Tat [jdt] 70,000 in Israel (1998). Population total all countries: 101,000. Sderot, Haderah, and Or Akiva, Israel. None in Iran. They are emigrating from the Caucasus Mountains to Israel at the rate of 2,000 a year. Also spoken in Azerbaijan, Russia (Europe). Alternate names: Judeo-Tatic, Jewish Tat, Bik, Dzhuhuric, Juwri, Juhuri. Dialects: Derbend. Several dialects. Difficult intelligibility of Mussulman Tat. There may also be a Christian dialect. Classification: Indo-European, Indo-Iranian, Iranian, Western, Southwestern, Tat

More information.

 

Ladino [lad] 100,000 in Israel (1985). Population total all countries: 110,000. Ethnic group members also in Salonica, Greece; Sofia, Bulgaria. Formerly also in Morocco. Also spoken in Greece, Puerto Rico, Turkey (Europe), USA. Alternate names: Judeo Spanish, Sefardi, Dzhudezmo, Judezmo, Spanyol, Haquetiya. Dialects: Judezmo (Judyo, Jidyo), Ladino, Haquetiya (Haketia, Haketiya, Hakitia). The Balkan dialect is more influenced by Turkish and Greek. The North African dialect is more influenced by Arabic and French. Classification: Indo-European, Italic, Romance, Italo-Western, Western, Gallo-Iberian, Ibero-Romance, West Iberian, Castilian

More information.

 

Lishán Didán [trg] 4,228 in Israel (2001 WCD). Population total all countries: 4,378. Jerusalem and Tel-Aviv area mainly. Originally Iranian Azerbaijan and southeast Turkey. Also spoken in Azerbaijan, Georgia. Alternate names: Lishanán, Lishanid Nash Didán, Persian Azerbaijan Jewish Aramaic, Lakhlokhi, Galihalu. Dialects: Northern Cluster Lishán Didán, Southern Cluster Lishán Didán. 60% to 70% intelligibility of Hulaulá and Lishanid Noshan, but not of other Aramaic languages. Northern cluster subdialects are Urmi, Salmas, Anatolia; southern cluster dialects are Naghada, Ushno, Mahabad. The Urmi subdialect of Lishán Didán is different from the Urmi subdialect of Assyrian Neo-Aramaic. Classification: Afro-Asiatic, Semitic, Central, Aramaic, Eastern, Central, Northeastern

More information.

 

Lishana Deni [lsd] 7,000 to 8,000 (1999 H. Mutzafi). Ethnic population: 9,061 (2000 WCD). Jerusalem and vicinity, including Maoz Tsiyon. Originally from northwest Iraqi Kurdistan. Alternate names: Judeo-Aramaic, Lishan Hudaye, Lishan Hozaye, Kurdit. Dialects: Zakho, Amadiya, Barashe, Shukho, Nerwa, Dohuk, Atrush, Bétanure. Resembles Chaldean Neo-Aramaic, but there are differences in morphology and other features. Inherent intelligibility is high between them. Low intelligibility of Ashirat dialects of Assyrian New-Aramaic; not intelligible with other Neo-Aramaic varieties. Classification: Afro-Asiatic, Semitic, Central, Aramaic, Eastern, Central, Northeastern

More information.

 

Lishanid Noshan [aij] 2,000 to 2,500 (1994 H. Mutzafi). Originally eastern and southern Iraqi Kurdistan. Alternate names: Lishana Didán, Hulani, Kurdit, Galigalu, Jbeli, Hula'ula. Dialects: Arbel (Arbil), Dobe, Koy Sanjaq, Rwanduz, Rustaqa, Shaqlawa, Ranye, Qaladze. 60% to 70% inherent intelligibility of Lishanan and Hulaulá. Very different and not inherently intelligible with the Christian Aramaic languages and Lishana Deni. Western cluster subdialects are Arbil, Dobe. Eastern cluster subdialects are Southeastern varieties: Koy Sanjaq, Qaladze. Northeastern varieties: Rwanduz, Rustaqa. Classification: Afro-Asiatic, Semitic, Central, Aramaic, Eastern, Central, Northeastern

More information.

 

Polish [pol] 100,000 in Israel (1992 H. Mutzafi). Alternate names: Polski. Classification: Indo-European, Slavic, West, Lechitic

More information.

 

Romanian [ron] 250,000 in Israel (1993 Statistical Abstract of Israel). Classification: Indo-European, Italic, Romance, Eastern

More information.

 

Russian [rus] 750,000 in Israel (1999 H. Mutzafi). Alternate names: Russit, Russki. Classification: Indo-European, Slavic, East

More information.

 

Tigrigna [tir] 10,000 in Israel (1994 H. Mutzafi). Alternate names: Tigrinya. Classification: Afro-Asiatic, Semitic, South, Ethiopian, North

More information.

 

Yevanic [yej] 35 in Israel. There were a few semispeakers left in 1987 and may be none now. Population total all countries: 50. There may be a handful of older adult speakers still in Turkey. Also spoken in USA. Alternate names: Judeo-Greek, Yevanitika. Classification: Indo-European, Greek, Attic Nearly extinct.

More information.

 

Yiddish Sign Language [yds] Classification: Deaf sign language

More information.

 

Yiddish, Eastern [ydd] 215,000 in Israel (1986). Population total all countries: 3,142,560. Southeastern dialect in Ukraine and Romania, Mideastern dialect in Poland and Hungary, Northeastern dialect in Lithuania and Belarus. Also spoken in Argentina, Australia, Belarus, Belgium, Canada, Costa Rica, Estonia, Hungary, Latvia, Lithuania, Moldova, Panama, Poland, Puerto Rico, Romania, Russia (Europe), South Africa, Ukraine, Uruguay, USA. Alternate names: Judeo-German, Yiddish. Dialects: Southeastern Yiddish, Mideastern Yiddish, Northeastern Yiddish. Has many loans from Hebrew and local languages where spoken. Eastern Yiddish originated east of the Oder River through Poland, extending into Belarus, Russia (to Smolensk), Lithuania, Latvia, Hungary, Rumania, Ukraine, and pre-state British-Mandate Palestine (Jerusalem and Safed). Western Yiddish originated in Germany, Holland, Switzerland, Alsace (France), Czechoslovakia, western Hungary, and is nearing extinction. It branched off medieval High German (mainly Rhenish dialects) and received Modern German influences during the 19th and early 20th centuries. Eastern and Western Yiddish have difficult inherent intelligibility because of differing histories and influences from other languages. There are some Western Yiddish speakers in Israel (M. Herzog 1977). Classification: Indo-European, Germanic, West, High German, Yiddish

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Extinct languages

Hebrew, Ancient [hbo] Extinct. Alternate names: Old Hebrew. Classification: Afro-Asiatic, Semitic, Central, South, Canaanite

 

Capital city:

Jerusalem

 

Meaning country name:

Israel takes its name from the biblical patriarch Jacob, later known as Israel, literally meaning "struggled with God/he struggles with God". According to the account in the Book of Genesis, Jacob wrestled with a stranger (in later tradition said to have been an angel) at a river ford and won through perseverance. God then changed his name to Israel signifying that he had deliberated with God and won as he had wrestled and won with men.

 

Description Flag:

The flag of Israel was adopted on October 28, 1948, five months after the country's establishment. It depicts a blue Star of David on a white background, between two horizontal blue stripes. The blue color is mandated only as "dark sky-blue", and varies from flag to flag, ranging from a hue of pure blue, sometimes shaded almost as dark as navy blue, to hues about 75% toward pure cyan and shades as light as very light blue. The flag was designed for the Zionist Movement in 1891. The basic design recalls the Tallit, the Jewish prayer shawl, which is white with blue stripes. The hexagram in the centre is the Magen David ("shield of David"). It became a Jewish symbol starting in late medieval Prague, and was adopted by the First Zionist Congress in 1897.

 

Coat of arms:

The coat of arms of Israel shows a menorah surrounded by an olive branch on each side, and the writing "ישראל" (Hebrew for Israel) below it. While the background of the emblem is always blue, the menorah and olive branches can be either white or golden. The white-on-blue version appears on the presidential standard, while the gold-on-blue version is the common one when showing the emblem independently.

The State of Israel adopted its coat of arms after a design competition held in 1948. The design is based on the winning entry submitted by Gabriel and Maxim Shamir's proposal, with elements taken from other submissions, such as Oteh Walisch and W. Struski's and Itamar David and Yerachmiel Schechter's entries.

The image seems as if borrowed from the Zachariah (chapter 4); "I looked and behold a golden menorah with a bowl upon the top of it and seven lamps to it…and there are two olive trees by it, one upon the right of the bowl the other upon the left." However it is unclear whether this resemblance is intended or merely coincidental. The Shamir brothers did not mention this passage from Zachariah as the source of their design, even though they gave detailed account on their work in an interview to Maariv (February 16, 1949).

The menorah has been a symbol of Judaism for almost 3000 years. It was used in the ancient Temple in Jerusalem. The olive branches symbolize peace.

 

National Anthem: הַתִּקְוָה (Hatkvah)

 

Hebrew

 

כל עוד בלבב פנימה

נפש יהודי הומי

ולפאתי מזרח קדימה,

עין לציון צופיה,

 

עוד לא אבדה תקוותנו,

התקווה בת שנות אלפים,

להיות עם חופשי בארצנו,

ארץ ציון וירושלים.

 

Translitaration

 

Kol od baleivav p'nimah

Nefesh y'hudi homiyah

Ulfa'atei mizrach kadimah

Ayin l'tziyon tzofiyah

Od lo avdah tikvateinu

Hatikvah bat sh'not alpayim

Lihyot am chofshi b'artzeinu

Eretz tziyon viyrushalayim

 

Arab

 

طالما في القلب تكمن،

نفس يهودية تتوق،

وللأمام نحو الشرق،

عين تنظر إلى صهيون.

 

أملنا لم يضع بعد،

أمل عمره ألفا سنة،

أن نكون أمّة حرّة في بلادنا،

بلاد صهيون وأورشليم القدس.

 

أملنا لم يضع بعد،

الأمل الأزلي

أن نعود إلى بلاد آبائنا،

إلى المدينة التي نزل عليها داود

 

English

 

As long as in the heart, within,

A Jewish soul is yearning,

And to the edges of the East, eastward,

An eye watches towards Zion,

As long as in the heart, within,

 

A Jewish soul is yearning,

And to the edges of the East, eastward,

An eye watches towards Zion,

 

Internet Page: www.gov.il

www.goisrael.com

www.infotour.co.il

 

Israel in diferent languages

 

eng | afr | arg | ast | bre | cat | cym | dan | dsb | eus | fin | fry | glg | glv | hsb | ibo | ina | jav | lin | lld | nor | por | roh | ron | rup | sme | spa | swe | tgl | tpi: Israel

ces | csb | hrv | hun | mfe | pol | slk | slv | szl: Izrael

fra | jnf | lim | nld: Israël

cos | ita | srd: Israele

deu | ltz | nds: Israel / Israel

aze | crh: İsrail / Исраил

bos | slo: Izrael / Израел

est | vor: Iisrael

gag | kaa: İzrail / Израиль

ind | msa: Israel / ايسرائل

kin | run: Israyeli

tur | zza: İsrail

bam: Isirayɛli

cor: Ysrael

dje: Israyla

epo: Israelo

fao: Ísrael

fij: Isireli

frp: Israyèl

fur: Israêl

gla: Iosrael; Israel

gle: Iosrael / Iosrael

hat: Izrayèl

hau: Isra’ila; Yahudawa

haw: ʻIseraʻela

isl: Ísrael; Gyðingaland

kab: Israil / ⵉⵙⵔⴰⵉⵍ

kmr: Îsraîl / Исраил / ئیسرائیل; Îzraîl / Израил / ئیزرائیل

kur: Israyil / ئسرایل; Îsrayil / ئیسرایل; Îsraîl / ئیسرائیل

lat: Israel; Israhel

lav: Izraēla

lit: Izraelis

liv: Izraēl

lug: Buyudaya

mlg: Israely; Isiraely

mlt: Iżrael

mol: Israel / Исраел

mos: Israyɛl

mri: Īharaira

nrm: Israêl

oci: Israèl

que: Israyil

rmy: Israel / इस्राएल

sag: Isaraëli

scn: Israeli

smg: Ėzraelis

smo: Isaraelu

som: Israa’iil

sqi: Izraeli

swa: Israeli; Uyahudi

tet: Izraél

ton: ʻIsileli

tsn: Iseraele

tuk: Izrail / Израиль

uzb: Isroil / Исроил

vie: Do Thái; I-xra-en

vol: Yisraelän

wln: Israyel

wol: Israayil

xho: kwaSirayeli

zul: KwaIsrayeli

chu: Исраиль (Israilĭ); Издраиль (Izdrailĭ); Израиль (Izrailĭ)

alt | che | chm | chv | kbd | kir | kjh | kom | krc | kum | mon | oss | rus | tyv | udm: Израиль (Izrail')

bak | tat: Израиль / İzrail

bul | mkd: Израел (Izrael)

abq: Израиль (Izrail)

bel: Ізраіль / Izrail

kaz: Израиль / Ïzraïl / يزرايل

lbe: Израэл (Izraėl)

srp: Израел / Izrael

tab: Изряил (Izräil)

tgk: Исроил / اسرائیل / Isroil

ukr: Ізраїль (Izraïl')

ara: إسرائيل (Isrāʾīl)

ckb: ئیسرائیل / Îsraîl

fas: اسرائیل / Esrâil

prs: اسراییل (Esrāyīl)

pus: اسراييل (Isrāyīl); اسرائيل (Isrāʾīl)

snd: اسرائيل (Isrāʾīlu)

uig: ئىسرائىلىيە / Israiliye / Исраилийә

urd: اسرائیل (Isrāʾīl); ازرائیل (Izrāʾīl)

div: އިސްރާއީލް (Isrā'īl)

syr: ܐܝܣܪܐܝܠ (Īsraʾīl)

heb: ישראל (Yiśraʾel)

lad: ישראל / Yisrael

yid: ישׂראל (Yiśroel)

amh: እስራኤል (Əsra'el)

cop-boh: Ⲓⲥⲣⲁⲏⲗ (Israīl)

ell-dhi: Ισραήλ (Israī́l)

ell-kat: Ἰσραήλ (Israḗl)

hye: Իսրայել (Israyel); Իզրաել (Izrayel)

kat: ისრაელი (Israeli)

hin: इसराइल (Isrāil); इस्राइल (Isrāil); इज़राइल (Izrāil); ईसराइल (Īsrāil); इज़राईल (Izrāīl)

mar: इस्रायल (Isrāyal)

nep: इज्राइल (Idzrāil)

ben: ইসরাইল (Isrāil); ইজরায়েল (Ijrāyel); ইস্রায়েল (Isrāyel); ইসরায়েল (Isrāyel)

pan: ਇਜ਼ਰਾਈਲ (Izrāīl)

kan: ಇಸ್ರೇಲ್ (Isrēl)

mal: ഇസ്രയേല് (Israyēl); ഇസ്രായേല് (Isrāyēl)

tam: இஸ்ரேல் (Isrēl); இசுரேல் (Ičurēl)

tel: ఇస్రాయెల్ (Isrāyel)

zho: 以色列 (Yǐsèliè)

yue: 以色列 (Yíhsīkliht)

jpn: イスラエル (Isuraeru)

kor: 이스라엘 (Iseurael)

bod: ཨི་སི་ར་ཨེལ་ (I.si.ra.el.); དབྱི་སེ་ལེ་ (dByi.se.le.); ཡི་ཟི་རེ་ལ་ (Yi.zi.re.la.)

dzo: ཨིཛ་རཱེལ་ (Idz.rēl.)

mya: အစ္စရေး (Iʿsẏè)

tha: อิสราเอล (Itrā'ēn)

lao: ອິດສະລະແອນ (Itsala'ǣn)

khm: អ៊ីស្រាអែល (Īsrā'æl)

 

Southern Cross Ranch

Madison, GA

Respect the caracter of each person.

The elderly, the old, the seniors, by whatever name we refer to them, respect lies in the class they belong to. Such is the beauty of this so called society that we belong to, the sad truth, the salutation of peace, the Salam, would not even be bestowed upon them because they are poor. The times we live in, how we have become tangled in this gruesome web.