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Self Portrait Dedicated to Sigmund Firestone (1940)
In early 1940, the American engineer Sigmund Firestone commissioned a self-portrait from both Frida and Diego. They were paid a total of $ 500. Frida delivered this self-portrait to Firestone in 1940 but Diego did not finish his self-portrait until the following year.
In this self-portrait, Frida is combining the preColumbian jewelry with the typical catholic covering of the head, pointing to the duality of her roots, as well as the duality of her country. In the inscription on the note in the upper right corner Frida dedicates the self-portrait to Firestone and his two daughters: Natalia and Alberta:
"Mexico, Coyoacan.
For Mr. Sigmund Firestone and his daughters Alberta and Natalia I painted this self-portrait with affection, in February of 1940 - Frida Kahlo"
In a 1940 letter to Firestone, Frida assures him that Diego will start his self-portrait as soon as he finishes the murals he is working on. When his self-portrait is finished she tells Firestone that: "...and we will be together again on your wall, as a symbol of our remarriage. I am very happy and proud because you like my portrait, it is not beautiful, but I made it with a great pleasure for you".
In the ancient world, there were many temples dedicated to Zeus, the king of the Greek gods. But, there was only one temple to Zeus that housed one of the seven wonders of the ancient world. The Temple of Zeus at Olympia was home to one of greatest sculptural achievements of ancient history. The Statue of Zeus at Olympia represented the pinnacle of Classical sculptural design, as well as showcased the engineering that was required to construct such a massive chunk of marble and gold.
The city-state of Olympia was a center of religious worship, and was also the birthplace of the Olympic games. Believed to have begun in 776 B.C., the Olympic games demonstrated the physical prowess as well as the political strength of the participating Greek poleis. The Olympic games were considered to be a part of religious rituals that revolved around the king of the Greek gods, Zeus. So it was only fitting that a grand temple and an even grander cult representation were constructed for the many Greeks who made pilgrimages there in order to worship their father god.
The temple of Zeus was built between 466 - 456 B.C., during the height of Classical Greek architecture and artistic endeavors. It was designed by Libon, an architect from neighboring Elis. The temple was constructed of local shell stone in the Doric style, the predominant architectural style of the time, and the same style as the Parthenon in Athens. The temple itself acted merely as a protective home for the real showpiece, the cult statue of Zeus himself.
The renowned Greek sculptor Pheidias brought Zeus to life with his creation around 435 B.C. After creating the cult statue of Athena for the Parthenon, Pheidias left Athens in shame as a result of a political scandal and an erroneous embezzlement charge. He immediately came to Olympia to begin work on Zeus.
Pheidias had developed a technique that allowed his enormous creations of ivory and precious metals to be formed without crumbling under their own weight. Beginning with a wooden frame built on site, he would lay thin plates of ivory soaked in a liquid to make them moldable, and place them upon the mold along with sheets of gold (for Zeus draping clothing). The pieces matched up perfectly, and the joints were nearly invisible.
The appearance of the statue must have been imposing, impressive, and awe-inspiring. The seated statue was over 40 feet tall. Zeus' throne was just as impressive, constructed of cedar and inlaid with ivory, gold, and ebony. He held a statue of Nike, the Greek goddess of victory, in his left hand, and a staff with an eagle perched atop it in his right hand.
The statue inspired reverence for over 800 years in its temple home in Olympia. Kings and even Roman Emperors who gazed upon it were known to cry in veneration. In fact, the Roman Emperor Caligula even tried to have the statue taken for himself in the late 30's A.D., with no success. In the 450's A.D., it was taken from the temple to Constantinople, where it sat in a palace. The palace was destroyed by fire in 462 A.D., and one of the seven wonders of the ancient world was unfortunately lost forever.
Hexham Abbey is a Grade I listed place of Christian worship dedicated to St Andrew, in the town of Hexham, Northumberland, in Northeast England. Originally built in AD 674, the Abbey was built up during the 12th century into its current form, with additions around the turn of the 20th century. Since the Dissolution of the Monasteries in 1537, the Abbey has been the parish church of Hexham. In 2014 the Abbey regained ownership of its former monastic buildings, which had been used as Hexham magistrates' court, and subsequently developed them into a permanent exhibition and visitor centre, telling the story of the Abbey's history.
There has been a church on the site for over 1300 years since Etheldreda, Queen of Northumbria made a grant of lands to St Wilfrid, Bishop of York c.674. Of Wilfrid's Benedictine abbey, which was constructed almost entirely of material salvaged from nearby Roman ruins, the Saxon crypt still remains; as does a frith stool, a 7th/8th century cathedra or throne. For a little while around that time it was the seat of a bishopric.
In the year 875, Halfdene (Halfdan Ragnarsson) the Dane ravaged the whole of Tyneside and Hexham Church was plundered and burnt to the ground.
About 1050, one Eilaf was put in charge of Hexham, although as treasurer of Durham, he probably never went there. Eilaf was instructed to rebuild Hexham Church, which then lay in utter ruin. His son Eilaf II completed the work, probably building in the Norman style.
In Norman times, Wilfrid's abbey was replaced by an Augustinian priory. The current church largely dates from c.1170–1250, built in the Early English style of architecture. The choir, north and south transepts and the cloisters, where canons studied and meditated, date from this period.
The east end was rebuilt in 1858. The Abbey was largely rebuilt during the incumbency of Canon Edwin Sidney Savage, who came to Hexham in 1898 and remained until 1919. This mammoth project involved re-building the nave, whose walls incorporate some of the earlier church, and the restoration of the choir. The nave was re-consecrated on 8 August 1908.
The church was recorded as Grade I listed in 1951. In 1996 an additional chapel was created at the east end of the north choir aisle; named St Wilfrid's Chapel, which offers a place for prayer or quiet reflection.
Four of the stained glass windows in the Abbey are the work of Jersey-born stained glass artist Henry Thomas Bosdet who was commissioned by the Abbey. The east window was the first project and was installed about 1907. Two smaller windows followed and the large west window was installed in 1918.
The crypt is a plain structure of four chambers. Here were exhibited the relics which were a feature of Wilfrid's church. It consists of a chapel with an ante-chapel at the west end, two side passages with enlarged vestibules and three stairways. The chapel and ante-chapel are barrel-vaulted. All the stones used are of Roman workmanship and many are carved or with inscriptions. One inscription on a slab, partially erased, is:
IMP •CAES •L •SEP • • •
PERTINAX •ET •IMPC • •
AVR •ANTONINV • • • •
VS • • • • • • • • •
• • • •HORTE • • •
VEXILLATION • • • • •
FECERVNT SVB • • • • •
Translated, this means The Emperor Lucius Septimus Severus Pius Pertinax and his sons the Emperor Marcus Aurelius Antoninus Pius Augustus and Publius Geta Caesar the cohorts and detachments made this under the command of ….. The words erased are of great interest: after the Emperor Geta was murdered by his brother Caracalla, an edict was made at Rome ordering that whenever the two names appeared in combination that of Geta was to be erased. This so-called damnatio memoriae was carried out, but so poorly that the name can still be read.
The first diocese of Lindisfarne was merged into the Diocese of York in 664. York diocese was then divided in 678 by Theodore of Tarsus, forming a bishopric for the country between the Rivers Aln and Tees, with a seat at Hexham and/or Lindisfarne. This gradually and erratically merged back into the bishopric of Lindisfarne. Eleven bishops of Hexham followed St. Eata, of which six were saints.
No successor was appointed in 821, the condition of the country being too unsettled. A period of disorder followed the Danish devastations, after which Hexham monastery was reconstituted in 1113 as a priory of Austin Canons, which flourished until its dissolution under Henry VIII. Meantime the bishopric had been merged in that of Lindisfarne, which latter see was removed to Chester-le-Street in 883, and thence to Durham in 995.
The tombstone of Flavinus is one of the most significant Roman finds in Britain. It can be found in the Abbey in front of a blocked doorway at the foot of the Night Stair. Flavinus was a Roman cavalry officer who died aged 25 in the first century. The slab is thought to have once stood near the fort of Coria near Corbridge and was brought here as a building stone in the 12th century. The slab was laid face-upward in the foundations of the cloister and was rediscovered in 1881.
In 1833 a hoard of approximately 8000 stycas were discovered whilst a grave was being dug in the Campey Hill area close to the north transept. The Hexham Hoard was concealed circa 850. It was composed of coins from the reigns of Eanred, Aethelred II and Redwulf, as well as coins of two archbishops Eanbald and Wigmund.
Hexham is a market town and civil parish in Northumberland, England, on the south bank of the River Tyne, formed by the confluence of the North Tyne and the South Tyne at Warden nearby, and close to Hadrian's Wall. Hexham was the administrative centre for the Tynedale district from 1974 to 2009. In 2011, it had a population of 13,097.
Smaller towns and villages around Hexham include Corbridge, Riding Mill, Stocksfield and Wylam to the east, Acomb and Bellingham to the north, Allendale to the south and Haydon Bridge, Bardon Mill and Haltwhistle to the west. Newcastle upon Tyne is 25 miles (40 km) to the east and Carlisle 37 miles (60 km) to the west.
Toponym
The name Hexham derives from the Old English Hagustaldes ea and later Hagustaldes ham from which the modern form (with the "-ham" element) derives. Hagustald is related to the Old High German hagustalt, denoting a younger son who takes land outside the settlement; the element ea means "stream" or "river" and ham is the Old English form of the Modern English "home" (and the Scots and Northern English "hame").
History
Hexham Abbey originated as a monastery founded by Wilfrid in 674. The crypt of the original monastery survives, and incorporates many stones taken from nearby Roman ruins, probably Corbridge or Hadrian's Wall.
The Anglo-Saxon Chronicle (Manuscript D: Cotton Tiberius B IV) records the murder of King Ælfwald by Sicga at Scythlecester (which may be modern Chesters) on 23 September 788:
This year Alfwald, king of the Northumbrians, was slain by Siga, on the ninth day before the calends of October; and a heavenly light was often seen on the spot where he was slain. He was buried at Hexham in the church.
Her wæs Alfwald Norðhymbra cyning ofslægen fram Sigan on .viiii. Kalendas Octobris, 7 heofonlic leoht wæs lome gesewen þær þær he ofslægen wæs, 7 he wæs bebyrged on Hagustaldesee innan þære cyrican.
Like many towns in the Anglo-Scottish border area and adjacent regions, Hexham suffered from the border wars between the kingdoms of Scotland and England, including attacks from William Wallace who burnt the town in 1297. In 1312, Robert the Bruce, King of Scotland, demanded and received £2000 from the town and monastery in order for them to be spared a similar fate. In 1346 the monastery was sacked in a later invasion led by King David II of Scotland.
In 1464 during the Wars of the Roses, the Battle of Hexham was fought somewhere to the south of the town; the actual site is disputed. The defeated Lancastrian commander, Henry Beaufort, 3rd Duke of Somerset, was executed in Hexham marketplace. There is a legend that Queen Margaret of Anjou took refuge after the battle in what is known as The Queen's Cave, where she was accosted by a robber; the legend formed the basis for an 18th-century play by George Colman the Younger (The Battle of Hexham); but it has been established that Queen Margaret had fled to France by the time the battle took place. The Queen's Cave in question is on the south side of the West Dipton Burn, to the southwest of Hexham.
Until 1572, Hexham was the administrative centre of the former Liberty or Peculiar of Hexhamshire.
In 1715, James Radclyffe, 3rd Earl of Derwentwater, raised the standard for James Francis Edward Stuart in Hexham Market place.
"Hexham" was used in the Borders as a euphemism for "Hell". Hence the term "To Hexham wi' you an' ye’r whussel!", recorded in 1873, and the popular expression "Gang to Hexham!". "Hexham-birnie" is derived from the term and means "an indefinitely remote place".
Hexham riot
In 1761, the Hexham Riot took place in the Market Place when a crowd protesting about changes in the criteria for serving in the militia were fired upon by troops from the North Yorkshire Militia. Some 45 protesters were killed, earning the Militia the sobriquet of The Hexham Butchers.
Notable buildings
Hexham's architectural landscape is dominated by Hexham Abbey. The current church largely dates from c. 1170–1250, in the Early English Gothic style of architecture. The choir, north and south transepts and the cloisters, where canons studied and meditated, date from this period.
The abbey stands at the west end of the market place, which is home to the Shambles, a covered market built by Sir Walter Blackett in 1766; it is a Grade II* listed building.
At the east end of the market place stands the Moot Hall, originally commissioned as a gatehouse that was part of the defences of the town. The Moot Hall, which is considered one of the best examples of a medieval courthouse in the north of England, is a Grade I listed building.
The Old Gaol, behind the Moot Hall on Hallgates, was one of the first purpose-built jails in England. It was built between 1330 and 1333 and is a Grade I listed building.
The Leazes on Shaws Lane is a Grade II listed mansion built in 1853 by John Dobson for William Kinsopp.
Hexham Library and the Queen's Hall Art Centre can both be found in the Queen's Hall, completed in 1866. The building contains the Brough Local Studies Collection which is the second-largest local history collection in the county.
Dare Wilson Barracks, the home of X Company, 5th Battalion, The Royal Regiment of Fusiliers, was completed in 1891.
Governance
Hexham is in the parliamentary constituency of Hexham. Guy Opperman has been the Conservative member of parliament for Hexham since May 2010. In 2023 Joe Morris was selected to stand as the Labour Party candidate at the next General Election. The town comes under Northumberland County Council and contains three wards: Hexham Central with Acomb, Hexham East and Hexham West.
The Hexham Courant is the local newspaper, serving Hexham and Tynedale since 1864. It was first launched by J. Catherall & Co., and at that time espoused the Liberal cause. It later absorbed the Conservative-supporting Hexham Herald. In 1977, CN Group acquired the newspaper.
From within the Hexham Courant office a webcam overlooking Hexham Abbey can be viewed on the following website: Hexham Courant
Local news and television programmes are provided by BBC North East and Cumbria and ITV Tyne Tees.
Hexham's local radio stations are BBC Radio Newcastle on 103.7 FM, Capital North East on 105.8 FM, Heart North East on 96.4 FM, Smooth North East on 101.2 FM and Metro Radio on 103.2 FM.
Horse racing from the town's course on Yarridge Heights is regularly featured on telecasts by Racing UK and other selected broadcasters. Regular sound broadcasts of cricket commentary for Tynedale CC can be heard via the internet during summer on Spreaker Internet Radio.
Education
Hexham is served by state first, middle and high schools and uses the three-tier system as does the rest of Northumberland. Queen Elizabeth High School, partly located in a former hydropathic hotel, is the town's major educational centre. The nearest private school is Mowden Hall School, a prep school located 10 miles (16 km) away in Stocksfield.
Awards
Hexham won the town award in the 2005 Britain in Bloom awards. In the same year, it was also named England's Favourite Market Town by the magazine Country Life.
Hexham was voted the happiest place to live in Britain, 2019 and 2021.
Economy
The major employer in Hexham is Egger (UK) Limited.
Hexham had been long famous for its manufacture of leather. Wright (1823) gives some statistics
77 men & boys employed as Leather dressers and Glove-cutters, 40 boys employed as Dusters and 1,111 women employed as Sewers. Skins dressed annually were 80,000, and 18,000 skins of dressed leather were imported. From these were made and exported annually 23,504 dozens of pairs of gloves. Dutch Oker was used in the processing, but local fell clay could be used if necessary.
Tanning was a necessary allied industry and there were four tanneries, employing a score of men. In a year they dealt with 5,000 hides and 12,000 calf skins. They supplied local saddlers, bootmakers and cobblers.
Hexham also had 16 master hatters, and the trade employed 40 persons. There were two woollen manufactories, worked by steam power, and two rope manufactories. There were corn water mills below the bridge. A windmill on the Sele was ruinous, but there was one still working on Tyne Green. It was, and still is a flourishing market, including a mart for cattle and other farm animals.
In Hexham the Subskimmer was designed and made by Submarine Products. The town is also the site of a chipboard factory owned by the Austrian firm Egger Retail Products GmbH, which vents steam which can be seen from miles away.
Botanical brewery Fentimans is based in Hexham.
Shopping
Hexham has many shops commonly found in other English market-towns, with five central supermarkets (Tesco, Aldi, Lidl, Marks and Spencer and Waitrose), multiple clothes shops, charity shops, banks, estate agents, antique shops and chemists. Cafes and coffee shops are also common in Hexham, from commercial chains (Costa) to family run independents.
Sport
Hexham's racecourse is at Yarridge Heights in the hills above the town, with National Hunt (steeplechase) races throughout the year.
Tynedale Cricket Club
The town is also home to Tynedale Cricket Club, who play their home matches on Prior's Flat. (NE46 3EW)
Founded in 1888, the club has had its most successful period over the most recent 40 years when they dominated the Northumberland County League, before starting the 21st century by winning several championships in the newly created Northumberland & Tyneside Senior Cricket League.
In late 2017 Tynedale CC became a founder member of the new Northumberland & Tyneside Cricket League (NTCL), formed when a merger between NTSCL & Northumberland Cricket League was voted through by constituent clubs at the inaugural AGM held at Kingston Park Rugby Ground.
This new league will comprise six divisions with divisions 5 and 6 regionalised into north and south sections.
Twin towns
Germany Metzingen, Germany
France Noyon, France
Dedicated to my Dad who died early this morning.
Don't use this image on websites, blogs or other media without explicit permission. © Barbara Dickie. All rights reserved.
Dedicated to the people of the UAE who are not able to axcess flickr because the phone company blocked it FOR NO GOOD REASON.
fight this bollocks.
Dedicated to Bev and her Dad. Please check her wonderful photostream and her amazing story of the two Mandolins - www.flickr.com/photos/beverleyplaya/3661559820/
FP & Explore #12.... Thank you, Everyone ♥
This bright and cheery butterfly photograph is dedicated to one of my best friends on Flickr.....Mike (Kap’n’Kaos) who wrote me a wonderful testimony. Mike brings a lot of cheer to my "life" on flickr, as well as honest opinions and advice. Please visit his photostream and enjoy his wonderful images.
Thank you for your wonderful friendship, Mike!
I've been off & on Flickr the past few days.. as I am into a big project here at home... trying to purge years of papers, receipts, manuals, cards, letters, lotions, perfumes, clothes and just plain JUNK! My new motivation is to SIMPLIFY to reduce the feeling of chaos in my life. (We'll pounce on Anna's room when she gets back from Australia! hahaha)
Here's a link that explains how to clear the clutter from your home using the "Feng Shui" theory. Clear the Clutter
All About the Feng Shui Theory
Wish Me Luck! :-)
Um triste acidente aéreo ocorrido em 17 de julho de 2007 com o Airbus A320 da TAM pode ter sido a maior trajédia aérea na história de SP e do país.
O Brasil chora suas vítimas...
Dedicated to my friend John, the Sentinel of our dreams.
You like evocative scenaries, memories of distant times ... recalling nostalgic, magical atmospheres ...
You are a Magician in creating new dreams, your imagination and skill are well known.
Please, accept my modest attempt.
Dedicated to Saint Genesius, the church is partly Norman with much 15th century and Victorian renovation. Its apparent nickname probably derives from the ancient manor of St Gennys which was recorded in the Domesday Book (1086) when it was one of several manors - "held by Jovin from Robert, Count of Mortain; before 1066 it had been held by Gytha who also held Poundstock ( a nearby village ). There was half a hide of land and land for 10 ploughs. There were 3 ploughs, 3 serfs, 2 villeins, 8 smallholders, 40 acres of pasture, 7 cattle, 40 sheep and 6 goats. The value of the manor was £1 sterling"
( Source Wikipedia. )
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
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By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
Police from Tameside investigating modern slavery and drugs trafficking between Tameside and #Humberside have made arrests this morning.
Warrants were executed at addresses in #NewtonHeath, #Failsworth, and the #NorthernQuarter area as part of an operation dedicated to disrupting a drugs line between Tameside and #Hull that involves the criminal exploitation of vulnerable children.
The action is part of #OperationMarconi which was formed in June 2020 and concerns the exploitation of children from Tameside aged between 16 and 17.
It is one of over 20 investigations being led by GMP Tameside's Child Criminal Exploitation (CCE) team dedicated to modern slavery and the exploitation of vulnerable people who have been coerced into criminal activity in the district.
The CCE team have already made an additional eight arrests as part of those investigations and four people have been charged with modern slavery and drug offences.
A number of vulnerable individuals coerced into 'county lines' and identified as high-risk have been safeguarded and re-housed with support from local partner agencies.
County lines describes organised criminal networks involved in exporting illegal drugs into one or more importing areas within the UK, using dedicated mobile phone lines.
Children and vulnerable adults are often exploited to move and store the drugs and money often through coercion, intimidation, violence and weapons.
Police continue to collaborate with social services and schools, in particular, to help spot the signs of any children that may have been identified to be at risk of such exploitation.
Detective Constable Laura Hughes, of GMP Tameside's Child Criminal Exploitation team, said: "Today's action is a significant statement as we continue to tackle the pernicious exploitation of vulnerable young people for illicit gains.
"We have been working tirelessly in the CCE team in Tameside to work with local agencies in identifying and safeguarding potential victims of this criminality, while pursuing those that we believe are responsible for such exploitation.
"Tackling 'county lines' by its nature requires closely co-ordinated work, not just with local partners, but also policing partners from across the country and I would like to thank Humberside Police for their support during this operation so far.
"A lot of our work is based on intelligence and we are forever gaining a clearer picture as to how these criminal enterprises operate and are developing a real understanding of how these groups recruit and coerce vulnerable young people.
"It is important people know to spot the signs of when someone may be being exploited; whether it being withdrawn from family and friends and skipping school, to having more than one phone and going missing from home more regularly.
"Anyone with suspicions or concerns should contact police online via our website, call 101 and always dial 999 in an emergency. Details can be passed to the independent charity Crimestoppers on 0800 555 111."
Created in 1904 by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Andrew stained glass window may be found in the western wall of the north transept of the former Saint George's Presbyterian Church. Dedicated to the memory of Barbara Purves MacAdam it is installed next to a stained glass window dedicated to her husband Alexander who lived until 1911. Both windows were presented by their daughters Maggie and Effie MacAdam. Saint Andrew was one of the twelve apostles of Jesus, brother of Saint Peter, and is generally agreed that he was the first-called of the Christian Apostles. Crucified on a saltire, which became known as a Saint Andrew's Cross after his martyrdom, in this window Saint Andrew is portrayed leaning against such a cross. This stained glass window is very similar in design and has a similar colour scheme to an earlier Saint Andrew Window created by Ferguson and Urie at Christ Church, Brunswick. The pane below Saint Andrew features a biblical quote from John I - 41 - 42: "Andrew bindeth his own brother Simon and brought him to Jesus."
The Saint George's Presbyterian Church's 1876 - 1926 Jubilee Souvenir Book identifies Mr. Alexander Purves MacAdam as "Another of the pioneers of our Church, being a member of the first Board of Management. In I88I he was elected Treasurer, and held this office until 1885. He was a Trustee until 1905. Mr. MacAdam was a liberal contributor to Church funds for many years."
The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.
The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.
The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.
The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.
Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.
St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
An album dedicated to the great Italian artist Osvaldo Cavandoli and his Linea. I drew a fgure similar to his one using Gimp image editor on my photos in black and white or in color and desaturated. Today begins the adventure of a new LomoFigure... stay tuned! - Un album dedicato al grande disegnatore italiano Osvaldo Cavandoli ed alla sua Linea. Ho disegnato un personaggio simile al suo utilizzando il programma di fotoritocco Gimp su mie foto a pellicola in bianco e nero oppure a colori e desaturate. Inizia oggi l'avventura di un nuovo Lomopersonaggio... continuate a seguirlo!
Dedicated to 'Ambition
4 lb. of love.
1 lb. butter of youth.
1/2 lb. of good looks.
l lb. sweet temper.
1 lb. of blindness for faults.
1 lb. of self forgetfulness.
l lb. of good humour.
2 tablespoons of sweet argument.
1 pint of rippling laughter.
1 glass of common sense.
1 oz. modesty.
Put the love, good looks and sweet temper into a well furnished house. Beat the butter of youth to a cream, and mix well together with the blindness of faults. Stir the good humour into the sweet argument, then add the rippling laughter and common sense. Work the whole together until everything is well mixed, and bake gently for ever.
Schneider National Freightliner Columbia mid-roof with a Goodyear Tires dedicated trailer(GYA999908) parked in Chicago, IL in October 2013.
Dedicated to my Mother & her twin sister, my Aunt Kay, on their 81st Birthday!
Akiba Koen, Anjo, Aichi, Japan
This bird is known by many names: Red-billed Liothrix, Pekin Robin, Pekin Nightingale, Japanese Hill Robin, Leiothrix lutea, and ソウシチョウ.
A Brand new Wright Gemini3 Volvo B5TL - Stagecoach Cumbria & North Lancashire 13801 is pictured in Grasmere on 24 July 2017. The new batch of purpose built open toppers carry a new LAKEsider branding and are dedicated to the Stagecoach 599 Windermere - Grasmere “honeypot” route. The rear of Stagecoach Cumbria & North Lancashire 10561, an Alexander Enviro bodied Dennis E40D is seen on the left, passing on the northbound 555.
Dedicated to my dear and long flickr friend Günther (g.seifret). He made a presentation of some of my flickr photos. Please take the time to have a look at his wonderful nature photos .... I love them!
Many thanks, Günther, for your really lovely work!!!
Flickr don't allow to upload pps, therefore I uploaded it to my blog.
At the end of a really fantastic 12 km hike around the Feisnecksee (a really lovely landscape situated near Waren, Müritz National Park), on the meadow at the parking lot next to the street there fluttered a few butterflies. I wanted to catch one.
While I photographed the one above with my camera in both hands, he suddenly flew to me and sat down on the forefinger of my left hand. I didn't want to expel him, but still made another macro of him. It was not so easy, the butterfly on my left hand and now the camera only in my right hand. But I think I managed it pretty well ;-). You can see the best additional photos in my comment.
The Small Tortoiseshell (Aglais urticae) is a well-known colourful butterfly, found in temperate Europe. There are a few records from New York City which, however, are believed to have arrived human-assisted.
This is a species often found in gardens. The caterpillars feed on nettles, as do those of several Nymphalidae butterflies.
The adult is striking, with its dark body and red and yellow wings, which have a row of blue dots around the rear edge. However, the underwings are dull, which helps to conceal stationary or hibernating individuals. When threatened, resting individuals rapidly open their wings, presenting the dramatic display of colors. This can frighten away young or inexperienced birds (Stevens 2005).
The butterfly is abundant in most areas of the United Kingdom and Ireland. However, its availability often varies yearly. Its commonness may often depend on the status of the common wasp in that particular season, as the wasp is known to feed on the Tortoiseshell's pupae.
The Corsican Small Tortoiseshell Aglais (urticae) ichnusa looks very similar; whether it is a subspecies or a distinct species is yet to be determined. More in en.Wikipedia
Recommended to view Large On Black
Also in my set: Insects
Am Ende einer wirklich herrlichen 12 km Wanderung um den Feisnecksee (auch (die) Feisneck genannt, gelegen am Stadtrand von Waren im Müritz-Nationalparkes), flatterten auf der Blumenwiese am Parkplatz etliche Schmetterlinge. Sehr gerne wollte ich einen erwischen.
Während ich noch mit meiner Kamera in beiden Händen fotografierte setzte er sich plötzlich auf den Zeigefinger meiner linken Hand. Ich wollte ihn nicht vertreiben, sondern noch ein Makro davon machen. Es war gar nicht so einfach, den Kleinen Fuchs auf meiner linken Hand mit der Kamera nunmehr nur in meiner rechten Hand aufzunehmen. Doch ich denke, es ist mir ganz gut gelungen ;-). Die Fotos davon seht ihr in meinem Kommentar.
Der Kleine Fuchs (Aglais urticae; Syn.: Nymphalis urticae) ist ein Schmetterling (Tagfalter) der Familie der Edelfalter (Nymphalidae). Der Name Aglais urticae leitet sich ab von lat. Aglaie, oder gr. Aglaia, der ältesten der drei Grazien und lat. urtica, die Nessel und beschreibt die grazile Gestalt sowie die Brennnessel als Futterpflanze.
Die Falter erreichen eine Flügelspannweite von 40 bis 50 Millimetern. Ihre Flügeloberseiten haben eine orange Grundfärbung, wobei der Flügelansatz, besonders der Hinterflügel dunkelbraun ist. Sie tragen am Vorderrand der Vorderflügel ein schwarz, gelb und weißes Fleckmuster und dicht am dunkelbraunen Flügelaußenrand beider Flügelpaare einen blauen Fleckensaum, der dunkel umfasst ist. Auf den Vorderflügeln befinden sich je zwei kleinere und ein großer schwarzer Fleck, am Hinterflügel je nur ein großer schwarzer Fleck, der am dunkelbraunen Basalteil anschließt.
In Mittel- und Hochgebirgslagen sind die Falter häufig größer und haben eine hellere Färbung. Im nördlichen Europa sind sie eher kleiner und dunkler.
Die Raupen werden ca. 30 Millimeter lang. Die Raupen sind schwarz, fein weiß gefleckt und besitzen zwei unterbrochene, gelbe Seitenlinien. Unterhalb der Seitenlinien ist der Körper purpurbraun und gelegentlich mit einer rötlichbraunen Zeichnung zwischen den gelben Seitenlinien versehen. Der Raupenkörper trägt auf dem Rücken und an den Seiten Stachel, die schwarz oder gelblich sind. Der Raupenkopf ist schwarz.
Die Tiere kommen in ganz Europa und Asien, östlich bis an den Pazifik vor. Man findet sie normalerweise bis in eine Höhe von 3.000 Meter, gelegentlich werden Falter auch bis in Höhen von 3.500 Meter gefunden. Sie leben in verschiedensten Lebensräumen (Ubiquist), weswegen sie weit verbreitet sind und sehr häufig vorkommen.
© 2010 Ursula Sander - All rights reserved.
I spent my day with a good old friend Sarfaz www.flickr.com/photos/sarfrazh/ at Khanpur today. Sarfaz loves to research on wild life of Pakistan and is running a very interesting yahoo based group dedicated to nature and wild life of Pakistan
The bird was identified by Sarfraz as Osprey
The following information is taken from Wikipedia. (you can see more pictures over there)
The Osprey (Pandion haliaetus), also known colloquially as seahawk, fish hawk or fish eagle, is a diurnal, fish-eating bird of prey. It is an elephantine raptor, reaching 60 centimetres (24 in) in length with a 1.8 metre (6 ft) wingspan. It is brown on the upperparts and predominantly whitish on the head and underparts, with a brownish eyepatch and wings.
The Osprey tolerates a wide variety of habitats, nesting in any location near a body of water providing an adequate food supply. It is found on all continents except Antarctica although in South America it occurs only as a non-breeding migrant.
As its other common names suggest, the Osprey's diet consists almost exclusively of fish. It has evolved specialised physical characteristics and exhibits some unique behaviours to assist in hunting and catching prey. As a result of these unique characteristics, it has been given its own taxonomic genus, Pandion and family, Pandionidae. Four subspecies are usually recognised. Despite its propensity to nest near water, the Osprey is not a sea-eagle.
(Explored)
Dedicated to **El-Len**,
Hustle and bustle of people going about their early morning business, light filtering through the smokey atmosphere, Fort Kochi, Kerala India
please view on black
The Collingwood Monument is a Grade II* listed monument in Tynemouth, England, dedicated to Vice Admiral Lord Cuthbert Collingwood. A Napoleonic-era admiral noted for being second-in-command to Admiral Lord Nelson during the Battle of Trafalgar, Collingwood is sometimes referred to as the forgotten hero of Trafalgar. The monument's base is by John Dobson and the statue is a work of the sculptor John Graham Lough. It is situated just off Front Street in Tynemouth and overlooks the mouth of the River Tyne.
Background
Lord Collingwood was born in Newcastle upon Tyne, the son of a merchant. He attended the Royal Grammar School and joined the Royal Navy as a volunteer at the age of 12. From there he continued his nautical education under his cousin Captain Richard Brathwaite. After serving in the British Naval Brigade at the Battle of Bunker Hill, Collingwood was commissioned in 1775 as a lieutenant. His first command was HMS Badger, after succeeding Horatio Nelson, and his first major command was HMS Sampson. During the Battle of Trafalgar Collingwood assumed command of the British fleet after the death of Lord Nelson, transferring to HMS Euryalus. Collingwood then led the fleet and completed the battle plans that he and Nelson had created together. For his role in the battle Collingwood was given the thanks of both houses of Parliament and awarded a pension of £2,000 per annum, as well as being promoted on 9 November 1805 to Vice-Admiral of the Red and raised to the peerage as Baron Collingwood, of Caldburne and Hethpool in the County of Northumberland.
In 1805 Collingwood was appointed to the Commander-in-Chief, Mediterranean Fleet. After requesting to be relieved of his command the Government stated that it urgently required an admiral of his calibre to lead against the dangers of the French and her allies, and that his country could therefore not dispense of him. However, in 1809 his health declined and he was granted leave. In 1810 Collingwood died of cancer on board HMS Ville de Paris as he sailed for England. He was laid to rest beside Lord Nelson in St Paul's Cathedral. During his career he had served in the American Revolutionary War, the French Revolutionary Wars and the Napoleonic Wars, and had been awarded three Naval Gold Medals, making him one of only three people to share the distinction of earning a total of three.
The inscription on the base of the plinth
The monument was erected to commemorate Collingwood and his connection to North Shields, and was deliberately positioned so that it could be seen from the Tyne. It was paid for by public subscription. The architect was John Dobson and John Graham Lough was responsible for the sculpture. The monument features a high wide base, with slit openings and a door in the rear. A flight of steps leads to the base of the plinth and side walls flank the steps. Upon the walls are four cannon from HMS Royal Sovereign, Collingwood's flagship during the Battle of Trafalgar. The statue of Collingwood stands upon this plinth and the is draped in a cloak over Collingwood's Royal Navy uniform.[clarification needed] The figure's left hand rests on a bollard wrapped in rope.
The monument was completed in 1845 except for the cannons, which were added in 1849.
The inscription on the plinth reads:
THIS MONUMENT was erected by public subscription to the memory of
ADMIRAL LORD COLLINGWOOD
who in the Royal Sovereign on the 21st October 1805 led the British fleet into action at Trafalgar and sustained the sea fight for upwards of an hour before the other ships were within gun shot which caused Nelson to exclaim
'SEE HOW THAT NOBLE FELLOW COLLINGWOOD TAKES HIS SHIP INTO ACTION
He was born at Newcastle upon Tyne 1748 and died in the service of his country on board of the VILLE DE PARIS on 7 March 1810
AND WAS BURIED IN ST PAUL'S CATHEDRAL
THE FOUR GUNS UPON THIS MONUMENT BELONGED TO HIS SHIP THE
"ROYAL SOVEREIGN"
The monument is the scene of a murder in Season 11 of the TV series Vera (in the episode entitled Witness).
John Graham Lough (8 January 1798 – 8 April 1876) was an English sculptor known for his funerary monuments and a variety of portrait sculpture. He also produced ideal classical male and female figures.
Life
John Graham Lough was born at Black Hedley Port, Greenhead near Consett, County Durham, one of eleven children born to William Lough of Aycliff, County Durham and Barbara Clementson of Dalton, Northumberland. His father was a farmer near Hexham and he may himself have worked as a farmer in his youth. He was later apprenticed to a stonemason, at Shotley Field near Newcastle upon Tyne. He later found work in Newcastle as an ornamental sculptor and carved the decorations on the building of the city's Literary and Philosophical Society.
Lough came to London by sea in 1825 to study the Elgin Marbles at the British Museum. He took lodgings in a first floor in Burleigh Street, above a greengrocer's shop, and there commenced to mould his colossal statue of Milo of Croton based on his studies of the Elgin Marbles and the work of Michelangelo. In 1826 he joined the Royal Society Schools with the support of John Thomas Smith and became the protégé of the painter Benjamin Haydon. The following year he exhibited the completed statue. (A later 1863 bronze version survives at Blagdon, Northumberland). It so impressed London society that it brought him scores of patrons and established his career.
He began exhibiting ideal figures and heads at the Royal Academy from 1826. Between 1834 and 1838, he spent a period in Rome where his portrait style was influenced by Neo-classicism.
Lough received a provisional commission to carve four granite lions for the base of Nelson's Column. However, in 1846, after consultations with the column's designer, William Railton, he withdrew from the project, unwilling to work under the constraints imposed by the architect The commission was later given to Edwin Landseer who, with assistance from the sculptor Carlo Marochetti, carried out the work in bronze, finally completing it in 1867.
He was a close friend of the surgeon Campbell De Morgan who sat with Lough as he lay dying of pneumonia. A bust of De Morgan by Lough was given to the Middlesex Hospital medical school and is on display there. Lough is buried in Kensal Green cemetery, London.
One of his younger brothers, Thomas, was a talented musician, artist, and poet, best known for "The Ramshaw Flood" (1848), but declined into vagrancy and poverty, dying at Lanchester Workhouse only a year after John Graham's death.
Works
Lough's memorial to Thomas Noon Talfourd, in the Shire Hall, Stafford
Lough's public works include a statue of Lord Collingwood in Tynemouth, a memorial to Thomas Noon Talfourd, in the Shire Hall, Stafford, and the bronze George Stephenson memorial of 1862, opposite the North of England Institute of Mining and Mechanical Engineers Newcastle upon Tyne.
In London, he produced the monuments to Henry Montgomery Lawrence and to Bishop Middleton in St Paul's Cathedral, and made the Queen Victoria and Prince Albert for the Royal Exchange. In Canterbury Cathedral, he was responsible for the monuments to Bishop Broughton, and to Lt Col Frederick Mackeson.
Lough produced many ideal works on classical, historical and literary themes, including a series of marble statues of Shakespearean subjects for his chief patron Matthew, 4th Baronet Ridley.
Although he was a prolific sculptor, he was also a controversial one, as his work divided opinion about its merits. The Literary Gazette was a fervent supporter, proclaiming his first exhibition as a demonstration of his "extraordinary genius" and a later sculptural group as a work which "nineteen out of twenty people would prefer ... to any other work in the exhibition." The Art Journal was just as fervently critical, damning his statue of Queen Victoria for the Royal Exchange as "an odiously coarse production, in which not one feature of the Queen is recognisable", and of such "gross vulgarity" that it exceeded "the worst production that has ever been publicly exhibited."
John Dobson (9 November 1787 – 8 January 1865) was a 19th-century English neoclassical architect. During his life, he was the most noted architect in Northern England. He designed more than 50 churches and 100 private houses, but he is best known for designing Newcastle railway station and his work with Richard Grainger developing the neoclassical centre of Newcastle. Other notable structures include Nunnykirk Hall, Meldon Park, Mitford Hall, Lilburn Tower, St John the Baptist Church in Otterburn, Northumberland, and Beaufront Castle.
Tynemouth is a coastal town in the metropolitan borough of North Tyneside, in Tyne and Wear, England. It is located on the north side of the mouth of the River Tyne, hence its name. It is 8 mi (13 km) east-northeast of Newcastle upon Tyne. It is best known[dubious – discuss] for Tynemouth Priory.
Historically part of Northumberland until 1974, the town was a county borough which included the nearby town of North Shields.
In 2001, the population of the town was recorded at 17,056. In the 2011 census, it along with North Shields had a population of 67,519. Which makes it the largest settlement in North Tyneside.
History
An aerial shot of Tynemouth Castle, taken in 1917, which was a major coastal fortress and the control centre of the Tyne defences, which stretched from Sunderland to Blyth.
The headland towering over the mouth of the River Tyne has been settled since the Iron Age.[3] The Romans may have occupied it as a signal station, though it is just north of the Hadrian's Wall frontier (the Roman fort and supply depot of Arbeia stands almost opposite it on the southern headland of the Tyne). In the 7th century a monastery was built in Tynemouth and later fortified. The headland was known as Pen Bal Crag.
The place where now stands the Monastery of Tynemouth was anciently called by the Saxons Benebalcrag
— John Leland at the time of Henry VIII
The monastery was sacked by the Danes in 800, rebuilt, and destroyed again in 875, but by 1083 it was again operational.
Three kings are reported to have been buried within the monastery: Oswin, King of Deira (651); Osred II, King of Northumbria (792); and, for a time, Malcolm III, King of Scots (1093). Three crowns still adorn the North Tyneside coat of arms. (North Tyneside Council, 1990).
The queens of Edward I and Edward II stayed in the Castle and Priory while their husbands were campaigning in Scotland. King Edward III considered it to be one of the strongest castles in the Northern Marches. After the Battle of Bannockburn in 1314, Edward II fled from Tynemouth by ship.
A village had long been established in the shelter of the fortified Priory, and around 1325 the prior built a port for fishing and trading. This led to a dispute between Tynemouth and the more powerful Newcastle over shipping rights on the Tyne, which continued for centuries. For more history see North Shields.
Prince Rupert of the Rhine landed at Tynemouth in August 1642 on his way to fight in the English Civil War.
Tynemouth was incorporated as a borough in 1849. The first Town Clerk was Thomas Carr Leitch.
Tynemouth was later administered as a county borough with its headquarters at Tynemouth Town Hall in North Shields until 1974.
Tynemouth was listed in the 2018 Sunday Times report on best places to live in Northern England.
Climate
Tynemouth has a very moderated oceanic climate heavily influenced by its position adjacent to the North Sea. As a result of this, summer highs are subdued and, according to the Met Office 1981–2010 data, average around 18 °C (64 °F). Due to its marine influence, winter lows especially are very mild for a Northern English location. Sunshine levels of 1515 hours per annum are in the normal range for the coastal North East, which is also true for the relatively low amount of precipitation at 597.2 millimetres (23.51 in).
Attractions and amenities
Beaches
Tynemouth Longsands
In the late 18th century, sea-bathing from Tynemouth's east-facing beaches became fashionable. King Edward's Bay and Tynemouth Longsands are very popular with locals and tourists alike.
Prior's Haven is a small beach within the mouth of the Tyne, sheltered between the Priory and the Spanish Battery, with the pier access on its north side. It was popular with Victorian bathers and is now home to Tynemouth Rowing Club and the local sailing club.
King Edward's Bay (possibly a reference to Edward II) is a small beach on the north side of the Priory, sheltered on three sides by cliffs and reached by stairways or, by the fit and adventurous who understand the weather and tides, over the rocks round the promontories on the north or south sides.
Longsands is the next beach to the north, an expanse of fine sand 1,200 yards (1,100 m) long, lying between the former Tynemouth outdoor swimming pool and Cullercoats to the north. The outdoor pool opened in 1925 and was considered a major tourist attraction in its heyday.
In 2013, Longsands was voted one of the best beaches in the country by users of the world's largest travel site TripAdvisor. TripAdvisor users voted the beach the UK's fourth favourite beach in its 2013 Travellers' Choice Beaches Awards. The beach was also voted the 12th best in Europe.
King Edward's Bay
Front Street
A statue of Queen Victoria by Alfred Turner, unveiled on 25 October 1902, is situated at the edge of the Village Green which is home to the War Memorials for the residents of Tynemouth lost during the Second Boer War of 1899–1902. Designed by A.B. Plummer, it was unveiled on 13 October 1903 by William Brodrick, 8th Viscount Midleton.
The larger central memorial is made of white granite with a cruciform column rising from between four struts in a contemporary design for its time. The front face has a relief sword and wreath carved onto it with the inscription below. The other three faces hold the honour roll for those lost during both World Wars. It was unveiled in 1923. DM O'Herlihy was named as the original designer but a press report stated that a Mr Steele designed the monument and credited O'Herlihy with preparatory works on the village green. The 82 names from World War II were added in 1999.
Tynemouth Clock Tower on Front Street was erected in 1861 by William Scott, esq., a native of the town. Designed by Oliver and Lamb with carvings by Robert Beall, the tower housed a clock by Joyce of Whitchurch. At ground level there were drinking fountains (and drinking troughs for dogs) on the north and south sides, a marine barometer (by Negretti and Zambra) to the west and an access door to the east. Made of polychrome bricks and ashlar, the tower (which has been Grade II listed since 1986) is described as being in the Venetian Gothic style.
Kings Priory School
Located on Huntingdon Place, Kings Priory School (formerly The King's School and Priory Primary School) is a co-educational academy with over 800 pupils aged between 4 and 18. Though founded in Jarrow in 1860, the school moved to its present site in Tynemouth in 1865 originally providing a private education for local boys. The school has an Anglican tradition, but admits students of all faiths. Formerly a fee-paying independent school, in 2013 the school merged with the local state Priory Primary School to become a state academy.
Former King's School was named in reference to the three ancient kings buried at Tynemouth Priory: Oswin, Osred and Malcolm III. Its most famous old boy is Stan Laurel, one half of the comedy duo Laurel and Hardy. Hollywood film director Sir Ridley Scott, and racing driver Jason Plato also attended the school.
Tynemouth Pier and lighthouse
This massive stone breakwater extends from the foot of the Priory some 900 yards (810 metres) out to sea, protecting the northern flank of the mouth of the Tyne. It has a broad walkway on top, popular with Sunday strollers. On the lee side is a lower level rail track, formerly used by trains and cranes during the construction and maintenance of the pier. At the seaward end is a lighthouse.
The pier's construction took over 40 years (1854–1895). In 1898 the original curved design proved inadequate against a great storm and the centre section was destroyed. The pier was then rebuilt in a straighter line and completed in 1909. A companion pier at South Shields protects the southern flank of the river mouth.
A lighthouse had built on the old North Pier (first lit in 1895, it displayed three lights mounted vertically: green over white over red, with a range of 7 nautical miles (13 km; 8.1 mi)); however, when the pier had to be rebuilt to a new design, an entirely new lighthouse was required. The work was undertaken by Trinity House, beginning in 1903; the lighthouse was finished before the pier itself, and was first lit on 15 January 1908. The revolving optic, manufactured by Barbier, Bénard, et Turenne, displayed a flash three times every ten seconds; it remains in use today. The light source was an incandescent oil vapour lamp, which (together with the optic) produced a 70,000 candle-power light with a range of 15 nautical miles (28 km; 17 mi). The lighthouse was also equipped with a reed fog signal, powered by compressed air, which was mounted 'on the cupola'; it sounded one long blast every ten seconds. It was manned by four keepers, with two on duty at any one time. In September 1961 a new, more powerful electric light was installed by the Tyne Improvement Commissioners (powered from the mains). Then in 1967 the lighthouse (by then staffed by six keepers on rotation) was automated; a diesel generator was installed along with an electric foghorn.
Before the pier was built, a lighthouse stood within the grounds of Tynemouth Priory and Castle. It was demolished in 1898. It stood on the site of the now-disused Coastguard Station.
On 20 October 2023, the dome of the lighthouse was "forcibly removed by the relentless combination of sea and wind" caused by Storm Babet.
The Spanish Battery
The Spanish Battery c. 1870.
The headland dominates the river mouth and is less well known as Freestone Point. Settlements dating from the Iron Age and later have been discovered here. The promontory supposedly takes its name from Spanish mercenaries who manned guns there in the 16th century to defend Henry VIII's fleet. Most of the guns had been removed by 1905. It is now a popular vantage point for watching shipping traffic on the Tyne.
Beyond the Battery, and commanding the attention of all shipping on the Tyne, is the giant memorial to Lord Collingwood, the Collingwood Monument. Collingwood was Nelson's second-in-command at the Battle of Trafalgar, who completed the victory after Nelson was killed in action. Erected in 1845, the monument was designed by John Dobson and the statue was sculpted by John Graham Lough. The figure is some 23 feet (7.0 m) tall and stands on a massive base incorporating a flight of steps flanked by four cannons from HMS Royal Sovereign – Collingwood's ship at Trafalgar.
The Black Middens
These rocks in the Tyne near the Monument are covered at high water, and the one rock that can sometimes be seen then is called Priors Stone. Over the centuries they have claimed many ships whose crew "switched off" after safely negotiating the river entrance. In 1864, the Middens claimed five ships in three days with many deaths, even though the wrecks were only a few yards from the shore. In response a meeting was held in North Shields Town Hall in December 1864 at which it was agreed that a body of men should be formed to assist the Coastguard in the event of such disasters. This led to the foundation of the Tynemouth Volunteer Life Brigade.
Tynemouth Aquarium
Blue Reef Aquarium
Undersea aquatic park, containing seahorses, sharks, giant octopus, frogs, otters and many other creatures. Its Seal Cove is a purpose-built outdoor facility providing an environment for a captive-bred colony of harbour seals. The 500,000-litre (110,000 imp gal; 130,000 US gal) pool includes rocky haul-out areas and underwater caves, specially created to ensure marine mammals are kept in near natural conditions. It was previously known as the Blue Reef Aquarium Tynemouth.
Transport
Maintaining transport links between Tynemouth and Newcastle is Tynemouth Metro station, originally opened in 1882 as a mainline station catering for the thousands of holiday-makers who flocked to the Tynemouth beaches. Its ornate Victorian ironwork canopies have earned it Grade II listed status. They were restored in 2012, and the station now provides a venue for a weekend "flea market", book fairs, craft displays, coffee shops, restaurants, exhibitions and other events.
Tynemouth is the end point for the 140-mile (230 km) long Coast to Coast Cycle Route from Whitehaven or Workington in Cumbria.
Religion
Tynemouth's Parish Church is the Church of the Holy Saviour in the Parish of Tynemouth Priory. It was built in 1841[45] as a chapel of ease to the main Anglican church in the area, Christ Church, North Shields. In Front Street there were two other churches, the Catholic Parish of Our Lady & St Oswins, opened in 1899, and also Tynemouth Congregational Church, which closed in 1973 and is now a shopping arcade.
Notable residents
Susan Mary Auld – naval architect
Thomas Bewick – engraver, spent many holidays at Bank Top and wrote most of his memoirs there in 1822
Septimus Brutton – played a single first-class cricket match for Hampshire in 1904
Toby Flood – England rugby player, was a pupil at The King's School
Ralph Pake – professional footballer
Ray Slater - (1931–2005), professional footballer
Andy Taylor – former lead guitarist for the new wave group Duran Duran was born in Tynemouth in 1961 at the Tynemouth Jubilee Infirmary.
John of Tynemouth (canon lawyer) – (died 1221), Canon lawyer, author, teacher at Oxford University later canon and judge.
John of Tynemouth (chronicler) – (fl. c. 1350), vicar of Tynemouth, author of world history and of British hagiography.
John of Tynemouth (geometer) – (fl. early 13th century), author of a book on geometry later relied on by Adelard of Bath and Roger Bacon. Possibly the same man as the canon lawyer.
Notable visitors
Charles Dickens visited Tynemouth and wrote in a letter from Newcastle, dated 4 March 1867:
'We escaped to Tynemouth for a two hours' sea walk. There was a high wind blowing, and a magnificent sea running. Large vessels were being towed in and out over the stormy bar with prodigious waves breaking on it; and, spanning the restless uproar of the waters, was a quiet rainbow of transcendent beauty. the scene was quite wonderful. We were in the full enjoyment of it when a heavy sea caught us, knocked us over, and in a moment drenched us and filled even our pockets.'
Giuseppe Garibaldi sailed into the mouth of the River Tyne in 1854 and briefly stayed in Huntingdon Place. The house is marked by a commemorative plaque.
Lewis Carroll states in the first surviving diary of his early manhood, that he met 'three nice little children' belonging to a Mrs Crawshay in Tynemouth on 21 August 1855. He remarks: 'I took a great fancy to Florence, the eldest, a child of very sweet manners'.
Algernon Charles Swinburne arrived hot foot from Wallington Hall in December 1862 and proceeded to accompany William Bell Scott and his guests, probably including Dante Gabriel Rossetti on a trip to Tynemouth. Scott writes that as they walked by the sea, Swinburne declaimed his Hymn to Proserpine and Laus Veneris in his strange intonation, while the waves 'were running the whole length of the long level sands towards Cullercoats and sounding like far-off acclamations'.
Peter the Great of Russia is reputed to have stayed briefly in Tynemouth while on an incognito visit to learn about shipbuilding on the Tyne. He was fascinated by shipbuilding and Western life. Standing 6 feet 8 inches (203 cm) and with body-guards, he would not have been troubled by the locals.
Festivals
Mouth of Tyne festival
The Mouth of the Tyne Festival currently continues the local festival tradition. This annual free festival is held jointly between Tynemouth and South Shields and includes a world-class open-air concert at Tynemouth Priory.
Tynemouth pageant
Tynemouth Pageant is a community organisation in North Tyneside, Tyne and Wear, England, devoted to staging an open-air dramatic pageant every three years in the grounds of Tynemouth Castle and Priory, by kind permission of English Heritage who run the historic monastic and defensive site at the mouth of the River Tyne.